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PRINCIPLES  OF 
ADVERTI  SING 
ARRANGEMENT 

FRANK   ALVAH    PARSONS 


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Art;    Tor  Art  to  appear  irt  die  works 
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THE  PRINCIPLES 
OF  ADVERTISING 
ARRANGEMENT 


■ 
■ 


FRANK  ALVAH   PARSONS 

PRESIDENT     OF    THE    NEW    YORK 
SCHOOL  OF  FINE  AND  APPLIED  ART 


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PUBLISHED    FOR   THE   ADVERTISING     MEN   S   LEAGUE    OF   NEW    YORK   CITY   BY 

THE  PRANG  COMPANY 

NEW  YORK       CHICAGO       BOSTON       ATLANTA       DALLAS 


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COPYRIGHT,  1912,  BY  THE  ADVERTISING 
MEN'S    LEAGUE    OF     NEW    YORK    CITY 


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THE   CONTENTS 

CHAPTER  I  The  Meaning  and  Importance  of  Advertising  . 

"  II  The  Place  of  Related  Shapes  in  Advertising  • 

"        III  The  Significance  of  Balance  in  Advertising     . 

"         IV  Movement  as  a  Vital  Factor  in  Advertising  . 

V  Emphasis  as  Applied  in  Advertising  Construction 

"         VI  Use  and  Abuse  of  Decoration  and  Ornament  . 

"       VII  Use  and  Abuse  of  Decoration  and  Ornament  . 

"     VIII  The  Province  and  Power  of  Color  in  Advertising 

IX  The  Selection  and  Use  of  Type  in  Advertising 

"  X     The  Topography  of  Advertising 


page 
15 

25 
35 
45 
57 
69 
79 
89 
107 
119 


253719 


THIS    BOOK    IS    CORDIALLY  ; 

DEDICATED  TO  MY  FRIEND,  I 

WILLIAM     H.    INGERSOLL,  ' 

WHOSE     INTEREST     IN     IN-  | 
DUSTRIAL     BETTERMENT 

HAS     MADE     IT     POSSIBLE.  i 


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THE      FOREWORD 

The  erroneous  idea  as  to  the  meaning  of  Art  and  its 
application  to  industrial  problems,  more  particularly 
in  the  advertisinglTeld,  is  the^reason  for  this  book.  The 
term  "prettiness,"  frequently  used  as  a  synonym  for  Art, 
gives  an  entirely  wrong  impression.  Pictures  and  draw- 
ings, particularly  in  color,  often  pass  for  art  objects 
when  the  Art  in  them  is  too  slight  to  be  detected.  Art 
is  quality — not  mere  material.  Its  elements  are  fitness  ^ 
and  beauty.  The  successful  choice  and  arrangement 
of  materials  of  any  kind  must  take  into  account  this  art 
quality  because  human  intelligence  demands  fitness  in 
things.  The  same  human  being  loves  and  requires  the 
element  of  beauty  in  all  objects  with  which  he  is 
associated. 

Art  is  a  force  and  is,  therefore,  subject  to  laws  or  prin- 
ciples. A  knowledge  of  Art  as  a  force  in  advertising 
means  a  knowledge  of  the  principles  of  fit  arrangement 
and  harmonious  color.  These  are  common  to  every  field 
of  so-called  Applied  Art.  This  modest  effort  is  not 
calculated  to  exhaust  the  subject.  It  is  only  a  set  of 
condensed  abstracts  taken  from  ten  lectures  given  before 
the  Advertising  Men's  League  of  New  York  City.  Its 
aim  is  to  make  clear  some  principles  of  form  and  color, 
and  to  apply  them  specifically  in  some  of  the  fields  of 
this  important  subject.  If  it  proves  to  the  advertiser 
that  "Order  is  heaven's  first  law" ;  to  the  business  man 
that  Quality,  not  Quantity,  counts,  and  to  the  public  in 
general  that  color  and  arrangement,  each  speaks  its  own 
language,  then  it  will  have  done  its  work. 


1 
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THE  MEANING 
AND  IMPORTANCE 
OF   ADVERTISING 

CHAPTER    I 


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THE      MEANING      AND 
IMPORTANCE   OF  ADVERTISING 


CHAPTER    I. 


1 


Efficiency  is 
=^=^=^^^^  the  criterion 
of  success.  The  successful 
producer  of  any  commodity 
must  place  this  commodity  be- 
fore the  con- 
s  u  m  e  r .  He 
does  this  large- 
ly through  a 
process  termed 
ad  ve  rtising, 
which  is  an- 
other term  for 
modern  sales- 
manship. It 
seems,  then, 
that  efficient 
advertising 
means  success- 
ful business. 
Granting  this, 
any  discussion 
of  the  subject, 
however  lim- 
ited, involves  a 
study  of  each 
of  the  estab- 
lished forces  known  to  be  active 
in  producing  the  results  desired. 
For  the  purpose  of  a  common 
understanding  in  this  matter, 
let  us  state  briefly  the  meaning 
of  some  fundamental  terms. 

I  I     understand     advertising    to 
mean  Twentieth  Century  sales- 


is  YOUR  PRINTED  MATTER  PRO- 
DUCING  SATISFACTORY  RESULTS? 

THE  final  test  of  a  catalog  is  tangible  roturns 
—  has  it  served  the  purpose  for  which  it  was  issued. 
A  catalog  that  docs  not  appeal  to  and  interest  the 
recipient  is  wasted. 

Much  advertising  falls  short  of  the  mark  because  of  the 
lack  of  knowledge  of  those  prcparir^g  it 

We  have  specialized  on  catalog  making,  and  offer  to 
general  advertisers  an  unsurpassed  service.  'We  bring  to 
the  work  a  thorough  training  in  modem  selling  methods, 
artists  of  taste  and  skill,  a  splendid  mechanical  equipment 
and  an  ambition  to  cxccL  Satisfied  customers  in  manj 
states  evidence  our  success. 

We  should  appreciate  an  opportunity  to  help  you  solve 
your  publicity  problems  from  a  typographic  standpoint 

We  have  issued  ft  specimen  book  containing  exhibits  of  work 
we  have  planned  and  executed.  You  should  have  this  txwk.  It 
will  speak  more  convincingly  than  anything  wc  can  say  here. 


THEKALKHOFFCOMPANY 

DESIGNERS  AND  PRODUCERS  OF  PRINTED  WORE  OP  QUALITY 
251   WILLIAM  ST.  NEW   YORK 


A  GOOD  PAGE  ADX'ERTISEMEXT  IX  CAT- 
ALOG SHOWING  GOOD  MARGINS,  WELL 
RELATED  MASSES  OF  TYPE  AND  WELL 
COMPOSED  WITHIN  THE  PAGE  LIMIT. 


manship.  ^1  understand  it  to  be 
coordinate  in  its  meaning  with 
the  term  salesmanship  in  its 
broadest  sense^I  understand  it  to 
involve  a  knowledge  of  men  and 

what  they  want 
or  need.  ^  It  al- 
so involves  the 
materials  that 
men  have  to 
sell,  and  how 
these  materials 
are  related  to 
the  individual 
who  needs 
them.  ^  Again, 
I  understand 
it  to  mean  a 
knowledge  of 
how  to  bring 
these  things  to 
the  attention 
or  notice  of 
the  people  in 
such  a  way 
that  they  will 
take  them.  If 
you  agree  with  me  that  this 
is  what  advertising  is,  we  can 
work  together. 

Advertising  is  second  to  no 
form  of  expression,  second  to 
nothing  in  its  importance  just 
now  in  everyday  life.  There 
can  be  no  question  but  what  it 


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is  of  vital  interest  to  the  man 
who  buys  as  well  as  to  the  man 
who  has  something  to  sell,  and 
1  want  to  make  you  feel  that  it 
also  involves  that  thing  which 
is  the  expression  of  what  you 


Every  man  who  has  work  to 
do  of  any  kind  ought  to  get  two 
things  out  of  it.  He  should  se- 
cure a  return  for  what  he  does; 
he  wants  also,  or  should  want, 
to  get  pleasure  from  what  he 


INCORRECT  PRINTED  PAGE  MAKING 
AN  UNCOMFORTABLE  APPEAL;  CEN- 
TER OF  MASS  FALLS  BELOW  OPTICAL 
CENTER.  REVERSED  MARGIN  WIDTHS 
AND     DISTRACTING     MASS     IN     CORNER. 


SHOWING  ATTRACTIVE  PRINTED 
PAGE  MASS  WITH  W  E  L  L- 
RELATED  AND  PRACTICAL  MARGIN. 
XO  DISTRACTING  MASS  IN  CORNER. 
OPTICAL      CENTER      WELL      PLACED. 


■ 
■ 


have  to  sell  in  the  most  effective 
way  that  it  can  be  expressed; 
namely,  the  written  or  printed 
advertisement.  When  we  get 
an  advertisement  that  is  just  as 
effective  as  it  can  be  made,  we 
have  a  good  one.  When  I  say 
effective,  I  mean  when  it  is  one 
that  does  the  business  and  de- 
livers the  goods. 


does,  and  he  ought  to  give  a 
certain  amount  of  satisfaction 
to  others  by  what  he  does.  I 
understand  this  second  thing  to 
be  Art.  I  want  to  make  that 
clear  now,  so  that  you  won't 
think  that  Art  is  something  that 
it  is  not. 

I    understand    Art    to    be    the 


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quality    which     an     advertise-     and  can't  do  without  it.     Now 
ment  has.    When  I  say  quality     when  I  can  show  that  the  flour 


I  mean  fitness — the  fitness  of 
that  advertisement  to  do  the 
work  it  is  intended  to  do. 


is  for  you,  and  you  want  the 
flour,  that  is  a  good  advertise- 
ment.   That  is  part  of  Art. 


If  I  take  a  barrel  of  flour  to     So  of  anything  whatever  that 


i 


A  PRINTED  PAGE  BROKEN  INTO  UNRE- 
LATED SHAPES  AND  SIZES,  AND  INTO 
BADLY  ARRANGED  MASSES  OF 
TYPE  AND  BLANK  SPACES. 
NOTE     THE      WEAK     BASE      EFFECT. 


A  PRINTED  PAGE  BROKEN  INTO  TYPE 
MATTER  WELL  RELATED  IN  SHAPES 
AND  SIZES,  AND  PLACED  AT  THE  COR- 
RECT DISTANCES  SO  AS  TO  UNIFY 
THREE      THOUGHTS      OR      STATEMENTS. 


B 

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advertise,  and  use  the  finest  pic- 
ture of  a  barrel  you  can  im- 
agine, but  put  nothing  else  in 
the  advertisement,  it  is  no  good 
as  an  advertisement  for  flour. 
It  is  no  good  unless  there  is 
something  to  show  that  the 
flour  has  a  use ;  that  you  need  it, 


I  place  before  you ;  it  must  first 
have  the  quality  of  effective- 
ness to  do  the  work.  If  I  can 
show  you  that  Art  helps  to 
make  an  advertisement  produce 
results,  then  Art  will  be  a  valu- 
able factor  as  a  force  in  our 
advertising  work. 


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I    said    a    man    ought    to    get    into    one    quality — the    quality 


some  pleasure  out  of  what  he 
does,  and  he  ought  to  give  other 
people  some  by  what  he  does. 
The  amount  of  pleasure  the 
work  gives  is  Art;  the  way  it 
looks  or  appears  is  Art.  The 
general  look  or  appearance, 
whether  of  set-up  or  general 
make-up,  is  its 
beauty. 

Now,  there  are 
two  things 
which  make  an 
object  artistic, 
its  efficiency 
and  its  beauty, 
or  the  pleas- 
ure it  gives 
through  the 
sense  of  sight. 
This  is  har- 
m  o  n  y — h  a  r- 
mony  of  pur- 
pose, harmony 
of  line,  har- 
mony of  color, 
harmony  o  f 
ornament,  har- 
mony in  form 
and  arrangement 


than    an    ugly 


A  PAGE  SHOWING  ADS  SO  ARRANGED 
AS  TO  BE  WELL-RELATED  IN  SHAPE 
AND  SIZE  TO  EACH  OTHER  AND 
TO      THE      SHAPE      OF      THE      PAGE. 


that  should  appear  in  every- 
thing that  exists;  that  is,  its  fit- 
ness for  its  use  and  the  har- 
mony or  beauty  of  the  thing  to 
the  sense  of  sight. 

If  I  can  prove  a  beautiful  ad- 
vertisement is  more  effective 
one,  then  it  is 
well  to  study 
the  laws  which 
underlie  its 
harmonization, 
as  Art  must 
therefore  be  an 
advantage  in 
the  commercial 
return  that  the 
advertisement 
gives.  I  want 
to  show  you 
that  art  and 
quality  and  fit- 
ness and  beauty 
aid  the  adver- 
t  i  s  i  n  g  man 
commercially, 
and  aid  him 
also  in  the 
pleasure  of  the 
work  as  a  stim- 


When  those 
things  are  disconnected  it  is  not 
artistic.  Man  naturally  likes 
concord  or  harmony. 

The     average    individual    ap- 
preciates    harmonious     things. 


ulating  factor  in  life. 

Again,  if  we  are  to  see  Twen- 
tieth Century  salesmanship  ex- 
pressed in  advertising,  we  must 
get  in  personal  touch  with  the 
people  in  the  right  way.  The 
Then,  let  us  look  at  Art  from  goods  must  become  known,  not 
the  very  beginning  as  just  two  to  one  man,  not  to  another  ad- 
principles — two  elements  fused     vertising  man,   but   to   all   the 


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people  that  are  going  to  use  the  eral  laws  that  control  men's 
thing  you  sell.  1  have  found  minds.  When  you  have  got 
this  out  in  my  work  with  adver-  them,  you  have  the  first  thing 
tising  men.  When  they  talk  an  advertising  man  wants.  No 
they  think  of  themselves,  of  matter  how  big  or  little  he 
their  own  kind,  people  who  is,  he  has  hold  of  the  thing 
have  the  same  amount  and  kind  that  applies  to  all  the  people, 
of  knowledge  of  advertising.  He  has  one  thing  that  makes 
rather  than  the  "benighted  gen-     effective     advertising  possible. 

If  you  are  ad- 

v  e  r  t  i  s  i  n  g 

watches,   you 

perhaps    know 

all  you  need  to 

know  about 

w  a  t  c  h  e  s — 

nearlv  everv- 

body    has    a 

watch.      You 

have   the   men, 

you    know    the 

material,     and 

you  know^  the  laws  that  govern 

the  minds  of  men.  What  you  do 

need  further  is  a  knowledge  of 

\^'hat   colors,    forms    and    lines 

mean,  or  should  mean,  to  the 


eral  public."  It 
is  astonishing 
to  talk  wath  an 
advertising 
man  and  see 
how  much  he 
takes  it  for 
granted  the 
public  knows. 


MARTHA     WALTER 
PORTRAIT  &  GENRE   PAINTER 

SUBJECTS     FROM     FRANCE.     HOLLAND. 
SPAIN.  ITALY.  DAI.M  ATI  A  S,   AMEKICA 


AT    HOME . 

W  E  D  N  E  S  D  A  1  S 
FROM   2    UNTIL   '■ 


STUDIO  : 

!1."NIAL  SlfDK^S 

■■'■•    ':''     sr..  \:  "I'. 


HARMONIOUS  AND  UNUSUALLY  EFFFXT- 
rVE  PERSONAL  BUSINESS  CARD  WITH 
PLEASING  MARGINS  AND  WELL-RE- 
LATED      MASSES       OF      TYPE      MATTER. 


Now,  as  we  go 

on,    won't   you 

bear    in    mind 

that   the   public   doesn't   know 

what  you  think  it  knows.     It 

won't    do    what    vou    think    it 

will,   because   it  has   not  been 

associated     with     your    ideas. 

That  is  the  way  it  was  w^ith  me     public — what  the  general  laws 

when  I  first  began  to  talk  with     of  arrangement  of  things  really 

advertising    men.    The    terms     are.  When  you  know  the  law^  of 

used  w^ere  foreign  to  me — they     arrangement  of  color  and  lines 

w^ere  like  a  foreign  tongue  that     and  forms,  you  are  shortly  go- 

I   did  not  understand.     Their    ing  to  know  the  laws  of  material. 

methods    of    arranging    things  . 

are  just  as  foreign  to  the  gen-     ^^e  next  pomt  T  want  to  bring 

eral  public.    They  are  conven-     ^^^  is  this :  I  take  it  that  an  ad- 

tional,    traditional    and    hack-     vertisement    has    four    distinct 

neyed.    The  fundamental  thing     aims.    It  must  first  be  of  such  a 

is  know^ledge  of  men   and  the     nature  that  whoever  sees  it  wtII 

general  know^ledge  of  the  laws     stop  involuntarily  and  look  at 

of  the  mind.     There  are  gen-     it   again.     Any   advertisement 


§ 


19 


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that  passes  unnoticed  is  of  no 
account. 

But  there  are  advertisements 
that  stop  you  short,  and  that  is 
all  they  do.  Go  out  in  Herald 
Square  and  look.  You  will  see 
color,  form  and  motion  turned 
loose.  Every  motion,  every 
color,  every  shape  that  has  ever 
been  known  is  there.  You  stop. 
You  don't  see  anybody  stay 
long,  but  they  look,  and  they 
go  on.  I  have  asked  in  many 
places: 

"Do  you  know  anybody  who 
has  ever  bought  anything  that 
is  advertised  on  Broadway  be- 
tween Herald  Square  and 
Fifty-ninth  Street?" 

I  have  never  found  this  riotous 
violence  effective  except  to 
amuse  or  stop  one.  No  appeal 
to  intelligence  is  made. 

First,  as  I  said,  we  must  make 
people  notice;  if  they  do  not, 
the  advertisement  is  useless.  In 
the  second  place,  it  must  hold 
the  attention  and  interest  long 
enough  to  have  one  see  what  is 
there,  and  to  impress  one  so  that 
when  he  goes  away  he  will  not 
forget  what  has  happened. 
Third,  I  believe  that  in  these 
modern  times  you  have  to 
stick  to  the  truth  in  your  ad- 
vertisements a  little  more  close- 
ly. I  believe  that  you  win  the 
confidence  of  people  by  saying 


what  is  so  better  than  by  saying 
what  is  not  so.  If  you  do  not, 
you  lose  what  I  believe  is  a 
fundamental  thing  in  getting 
people  to  buy  goods. 

I  don't  mean  that  you  really, 
voluntarily  lie  in  your  adver- 
tisements, but  the  pictures  you 
use  to  ornament  things,  the 
decorative  material  you  use,  the 
kind  of  lettering  you  employ, 
are  the  deceptions  I  mean.  The 
color  you  use,  if  you  do  not  know 
what  these  things  mean,  may  be 
a  lie  and  not  the  truth.  If  such 
things  have  a  fundamental, 
fixed  meaning  in  human  nature, 
it  naturally  makes  a  great  deal 
of  difference  how  you  use  them. 

The  fourth  requisite  is  to  do 
this  thing  with  the  least  possible 
money  and  in  the  least  possible 
time.  The  advertisement  must 
arrest  the  attention  of  the  ob- 
server; it  must  hold  the  atten- 
tion strongly  enough  to  deliver 
the  goods,  and,  in  order  to  do 
that,  it  must  have  the  element 
of  truth  clearly  expressed.  Fi- 
nally, it  must  do  its  work  in  the 
least  possible  time  and  with 
the  least  possible  expenditure 
of  money. 

Granting  these  things,  we  want 
to  know  next  what  is  this  lan- 
guage we  are  using  in  advertis- 
ing, of  what  is  it  made?  Our 
language  in  advertisements  is 
first  made  of  color.     Some  ad- 


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vertisements  are  made  up  or 
printed  with  two  of  them,  and 
some  with  all  of  them,  so  we 
ought  to  know  what  color  really 
means. 

Suppose  I  lived  in  a  dark  room 
with  one  window  in  it,  in  a  ten- 
story  building.  I  would  have 
the  problem  of  lamp  shades, 
wall  paper,  window  curtains, 
and,  beyond  all,  the  decoration 
of  the  room.  If  I  furnish  my 
room  in  dark  blue,  I  destroy  the 
light,  and  prevent  artificial 
light  from  doing  its  work,  be- 
cause blue  absorbs  light.  On 
the  other  hand,  if  I  paper  my 
room  in  light  yellow,  with 
bright  curtains  of  yellow  in  the 
windows  and  light  yellow 
shades  on  my  lamps,  my  room 
will  be  12  times  lighter  than  it 
would  have  been  if  I  had  used 
the  dark  blue  or  violet.  If  it  is 
a  fact  that  yellow  is  12  times 
more  forceful  in  its  carrying 
power  and  luminosity,  it  is  well 
to  know  it,  and  how  to  use  that 
fact  in  advertising. 

Another  thing  is  interesting. 
Some  interior  decorators  have 
been  experimenting  with  red 
and  blue  as  wall-coverings.  It 
was  found  that  the  walls  seemed 
to  come  in  toward  the  eye 
about  30  per  cent  of  the  distance 
from  the  original  side  wall,  or 
to  make  the  room  seem  30  per 
cent  smaller  with  red  than  with 


white  on  the  wall,  because  red 
is  an  exciting,  aggressive  color 
— the  sensation  reaches  the 
brain  through  the  eye  quicker, 
and  in  its  quickness  seems  to 
bring  things  toward  you.  As 
red  comes  at  you  in  wall  paper, 
blue  goes  from  you.  This  color 
is  retreating  in  its  appeal.  Al- 
most 30  per  cent  in  distance  is 
gained  by  decorating  a  room  in 
blue  of  the  same  value  as  the 
red.  These  things  will  help  us 
in  the  choice  of  papers,  inks,  etc. 

Color  should  be  a  power,  a 
force  in  advertising,  and  should 
be  studied  the  same  as  any  lan- 
guage is  studied,  in  order  to  be 
effective,  and,  therefore,  profit- 
able. 

The  second  element  in  this  lan- 
guage is  shape  or  form.  The 
general  shape  of  the  enclosing 
form  is  one  of  the  most  neces- 
sary things  for  us  to  study,  and 
I  want  to  begin  this  section  of 
the  work  with  the  first  prin- 
ciple of  form. 

Furniture  and  pictures  have  a 
relation,  harmonious  or  other- 
wise, to  the  size  and  shape  of 
the  places  where  they  are  put. 
Advertising  matter,  as  masses, 
should  be  related  to  the  shape 
of  and  the  size  of  the  page  on 
which  it  goes.  It  should  har- 
monize with  that  space  accord- 
ing to  certain  laws,  but  it  should 
have  around  it  certain  margins 


§ 


21 


"irawnnir" 


DBIDC 


or  plain  places,  particularly  in 
newspapers,  magazines,  books 
and  pamphlets. 

With  these  margins  we  want  to 
deal  next.  At  this  point  it  is 
probably  wise  to  develop  a  law. 
I  want  to  recall  a  law  known 
as  the  Greek  law  of  area  to  you 
in  this  way.  If  you  have  a  ratio 
between  three  widths  or  three 
sizes  which  is  approximately 
as  five  is  to  seven  and  to  eleven, 
you  will  have  nearly  what  the 
Greeks  thought  were  the  most 
comfortable  abstract  propor- 
tions. If  I  had  eleven  square 
inches  in  one  piece  of  set-up, 
and  seven  in  another,  and 
five  in  another,  these  sizes 
would  be  well  related,  as  to 
area,  that  is,  subtly  and  inter- 
estingly related. 

There  are  several  things  to  get 
out  of  that  law  at  this  point. 
The  first  of  these  sizes  is  ap- 
proximately eleven;  this  one  is 
seven,  and  that  is  five  inches  in 


area,  and  they  are  well  related. 
These  should  form  the  widths 
of  margins  around  pages  when 
things  are  going  to  look  well. 
It  makes  a  difference  in  catch- 
ing the  eye  what  the  margin  is, 
as  well  as  what  the  subject-mat- 
ter is.  The  mechanical,  the 
traditional  margin  is  unin- 
teresting. 

The  most  pleasing  and  effective 
marginal  arrangement  is  to 
have  the  widest  margin  at  the 
bottom,  the  top  next,  and  the 
sides  next. 

Now  again,  the  relation  of 
these  widths — the  widest  at  the 
bottom,  the  next  at  the  top,  and 
the  two  sides  less  and  alike — 
should  be  in  the  ratio  of  eleven 
units  to  seven  and  five,  to  get 
the  best  proportion.  This,  then, 
is  the  first  application  of  the 
Greek  law  to  the  margined 
page,  no  matter  what  the  page 
has  included  in  it — printing, 
ornaments  or  other  matter. 


WHAT  THERE  IS  IN  A  MAN  GOES  INTO  WHAT  HE  DOES, 
AND  NOTHING  ELSE  GOES  IN.  ONLY  AS  WE  TEACH, 
TRAIN,  CULTIVATE  AND  NURTURE  THIS  IDEA  OF 
FITNESS  AND  BEAUTY  IN  EVERYTHING,  WILL  IT  BE 
POSSIBLE  TO  PRODUCE  A  RACE  THAT  HAS  IN  IT  THE 
ART  SENSE.  THE  ART  SENSE  IS  ESSENTIAL  TO  MAN'S 
HAPPINESS  AND  HIS  EFFICIENCY  IN  ALL  SOCIAL  AND 
ECONOMIC  LIFE.  IT  IS  NOT  ENOUGH  TO  TEACH 
READING.       WRITING.       AND      ARITHMETIC.  F.      A.     P. 


DBiBc: 


3Biac 


01 


THE  PLACE  OF 
RELATED  SHAPES 
IN  ADVERTISING 

CHAPTER   II 


]  om  DO  I 


TflPininf 


inint 


UDno 

i 


THE    PLACE    OF    RELATED 
SHAPES    IN   ADVERTISING 


CHAPTER    II.     Adver- 

t  i  sing 
is  one  of  the  vital  and  interest- 
ing phases  of  applied  design. 
Design  is  the  selecting  and  ar- 
ranging of  material  for  the  pur- 
pose of  use  and  beauty.  When 
a  thing  is  useful,  it  is  artistic; 
when  it  is  beautiful,  it  is  ar- 
tistic; when  it  is  both,  it  has 
compassed  the  fullest  and  most 
complete  idea  of  art  quality. 

All  types  of  design  are  con- 
trolled by  exactly  the  same 
principles,  under  the  limita- 
tions and  possibilities  of  the 
particular  kind  of  material  in 
which  they  are  to  be  worked. 
The  architect  designs  the  fagade 
of  a  building  by  choosing  dis- 
creetly the  material  of  which  it 
is  to  be  built;  the  windows, 
their  size;  the  supporting  col- 
umns, and  the  other  material 
that  goes  to  make  up  the  fagade 
of  the  building. 

The  interior  decorator  plans  his 
side  wall  with  its  baseboard, 
wall  covering,  windows,  fire- 
place, pictures,  ornaments,  and 
its  furniture  against  the  wall, 
with  exactly  the  same  principles 
of  arrangement  in  mind  as  the 


architect  in  designing  the  side 
of  the  building.  The  rug  de- 
signer designs  his  carpet  or  rug 
by  choosing  and  arranging, 
with  exactly  the  same  idea  as 
the  architect,  the  interior  deco- 
rator, and  other  designers  use 
in  their  fields  of  design. 

Do  you  see  clearly,  then,  that 
design  is  a  matter  of  selecting 
and  arranging?  A  man  who 
would  be  a  designer  in  the  true 
sense  must  learn  to  select  dis- 
creetly what  he  uses  in  his  work, 
and  then  he  must  learn  to  ar- 
range what  he  selects  in  the 
most  effective  possible  manner. 
The  architect,  in  his  power  to 
select  and  arrange  the  outside 
appearance  of  the  building,  is 
limited  by  certain  things  in 
stone,  in  wood,  in  plaster,  in 
fixed  sizes  of  doors  and  win- 
dows and  the  like.  He  is  limited, 
but  not  by  the  same  things  that 
limit  the  advertising  man.  The 
rug  designer  is  limited  by  cer- 
tain things  as  to  the  weaving 
and  knotting  and  tying  and  so 
forth.  The  advertising  man  is 
limited  by  certain  page  limits, 
certain  definite  boundary  limits 
of  the  single  ad ;  limits  in  color ; 


■mc 


^BiinH  f 


1IBD( 


B 


25 


limits  in  type,  size  and  possible  that  while  every  phase  of  this 

arrangement;  limits  in  decora-  work  is  limited  by  certain  defi- 

tive  material,  historic  or  other-  nite  conditions   that   the  other 

wise;  in  pictorial  possibilities;  fellow  in  other  phases  of  design 

in  many  mechanical  ways  that  need  not  know,  at  the  same  time, 

the    architect    or    the    interior  there  are  laws  of  arrangement 


7 

^ 

y 

X 

y 

N 

/ 

^ 

j^ 

\ 

y 

y^ 

F^, 

y 

N, 

y 

N 

i 

TRADE  MARK 

^ 

^. 

1 

^. 

^^ 

^ 

1 

^ 

/ 

1 

\ 

■ 

^^^1 

A 

H 

^H 

^^flRAUE  MARK^^H 

^H 

■ 

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1 

^^k 

H 

^H 

H 

IB 

H 

^^^1 

■jj^H 

1 

TYPE  MATTER  AND  TRADEMARK 
POORLY  ARRANGED,  SHOWING  THE 
UNPLEASANT  AND  DISTRACTING  EF- 
FECT   OF     INCONSISTENT     SHAPES. 


THE  SAME  MATTER  BETTER  ORGAN- 
IZED AND  ARRANGED  INTO  MORE 
CORRECTLY  RELATED  AND  THERE- 
FORE PLEASING  AND  EFFECTIVE  FORMS. 


decorator  or  the  rug  designer 
knows  not  of. 

Every  phase  of  design  has  its 
limits,  but  the  arrangement  of 
material  and  the  selection  of 
this  arranged  material  are  con- 
trolled by  precisely  the  same 
laws.     I  want  to  make  it  clear 


which  are  positively  common  to 
every  phase  of  expression. 

(Printed  advertising  is  that  form 
of  design  which  has  for  its  ob- 
ject the  selecting  and  arranging 
of  words  in  type ;  descriptive  ef- 
fects or  decorative  effects;  pic- 
torial,   illustrative,    effects    in 


Banc 


26 


mooc 


mmimc 


::iiiiDBiDc: 


3IBIE)C 


DDB 


black  and  white  and  color,  in 
such  a  way  that  the  ad  shall  be 
pleasing  and  effective.  '  By  ef- 


the  truth  about  the  article,  and 
do  all  three  with  the  least 
money  and  in  the  least  time. 


r  Neip  YorK  tdison  Company 

Ifty-fiYe  Duane  Street^ 


LETTERHEAD      WITH      UXJ'LEASAXT      SHAPES. 
UXRELATED  TO   ENCLOSING   FORM  OF   PAPER. 


mm, 


101 


w/ltm^ 


THE  NEW  YORK  EDISON  COMPANY 


Fifty-five   Duane  Street 


MM'/, 


BOS 


LETTERHEAD      WITH      WELL-RELATED      SHAPES      AND      ODD 
FORMS  WHICH  ARE  HARMONIZED  WITH  ENCLOSING  FORMS. 

fective,  I  mean  it  shall  absolute-  When    a   designer   can   design 

ly  do  the  four  things  that  every  an  ad  by  the  laws  of  order  and 

ad  must  do,  namely:  arrest  the  arrangement    which    shall    ac- 

attention,  convince  the  individ-  complish  these  four  things,  he 

ual  whose  attention  is  arrested  is  a  real  designer  in  advertis- 

of  the  merit  of  the  article,  speak  ing. 


§ 


^IHQt 


IDBj 

^7 


lana 


We   started  Chapter  I  to  de-    /eral  principle  called  "Consist- 
velop  what  are  known  as  the    ^ent  variety  in  shapes  and  sizes." 


INEFFICIENT  AND  DISTRACTING  EFFECT  FROM  UNRELATED  SHAPES 
AND  THE  DISORGANIZED  ARRANGEMENT.  (THE  HEAVY 
LINES     HAVE     BEEN      INTRODUCED     TO     E.MPHASIZE     THE     BAD     ARRANGEMENT.) 


Get  off  at  Astor  Place  for  the 
February  Furniture  Sale  at 
the  John  Wanamaker  Store 


SaJe  from  February 
1st  to  28th  inclusive 


MADE  EFFECTIVE  BY  SHAPES  THAT  ARE  RELATED  TO  EACH  OTHER 
AND      TO      THE      ENCLOSING      FORM.      NOTE      THE      ORGANIZED      ARRANGEMENT. 

"Laws  of  Order"  or  the  "Prin-  I  want  these  terms  to  become 
ciples  of  Arrangement,"  and  we  just  as  familiar  to  you  as  A-B- 
touched  briefly  on  the  first  gen-     C.      We    discussed    consistent 


DODC 


3iaimc 


28 


iBDai 


T*nn  BD  r" 


IQIDB 


sizes  as  they  are  controlled  by  The  circle  is  monotonous  be^ 
the  Greek  law  of  proportion^  cause  it  changes  its  form  exact- 
that  proportion  that  subtly  ly  the  same  at  every  point  in  the 
pleases  and  attracts  and  con-  circumference,  presenting  no 
vinces  because  of  the  variety  variety  whatever  in  its  contour 
of  sizes  of  which  it  is  composed  — always  going  on  the  same — 
/  — sizes  wiiich   are  neither  too  any  number  of  repetitions,  all 


A  COUNTER  DISPLAY  CARD 
WHOSE  ERRATIC  AND  EYE-COMPEL- 
LIXG  SHAPE  DETRACTS  FROM  THAT 
OF    THE    OBJECT    DISPLAYED    UPON    IT. 


A  CARD  WHOSE  FORM  CONTRASTS 
WITH  THE  DISPLAYED  OBJECT,  IS 
HARMONIZED  BY  TYPE  AT  TOP. 
AND    WHOSE    SHAPE    IS    UNOBTRUSIVE. 


much  alike  nor  too  radically 
different  each  from  the  other  to 
appear  together  pleasantly  and 
convincingly. 

There  is  another  part  to  this 
principle  which  we  must  deal 
with  here,  known  as  consis^nt 
sliapes.  The  two  most  ra^Tcally 
different  things  that  can  be 
found  in  form,  and  the  two 
most  monotonous  things  that 
exist  are  the  square  and  the 
circle. 


of  the  same  proportions 
lutely  no  variety  in  it. 


-abso- 


There  is  more  pleasure  through 
variety  in  the  curve  of  the 
ellipse  than  there  is  in  the  cir- 
cumference of  a  circle. 

The  circumference  of  the 
circle  is  equidistant  from  the 
center  at  all  points.  This  makes 
the  circumference  of  the  circle 
change  its  direction  uniformly 
throughout. 


ins 
29 


QODC 


DBBIDC 


nOIlllDCI 


30IHIIOJC 


mnmni  r* 


The     curve     of     the     ellipse  beautiful   forms   are  based   on 

changes   irregularly   from   one  the  oval,  and  not  the  circle  or 

end  of  the  major  axis  to  the  end  the  ellipse?      If  you   do,   then 

of  the  minor  axis.    This  change  you  will  see  what  I  mean  when 

is   repeated  to  form  the  other  I   say  that   the   greatest   possi- 

half  of  the  ellipse.    This  gives  bility  of  variety  is  in  the  oval, 


■«^d#aaaH,tjai*^i!aj*MaM.^i?ai 


AR,TS  ® 
DECORATION 


r« 


A  COVER  DESIGN  INTRODUC- 
ING AN  U  N  S  U  P  P  O  RT  E  D  CIRCLE. 
UNRELATED      TO      ITS      SURROUNDINGS. 


^^SSHSOUSi 


ARiS  AND  1 
DECORATION 


A  CIRCLE  USED  ON  AN  OBLONG, 
YET  MADE  HARMONIOUS  AND 
PLEASING      BY      SUPPORTING      ANGLES. 


greater  variety  to  the  elliptical 
curve  than  can  possibly  be  got- 
ten from  the  curve  of  the  circle. 

A  step  further,  and  you  will  see 
that  the  oval,  shaped  like  an 
eo^g,  presents  a  still  further  pos- 
sibility of  variety  in  line  than 
either  the  circle  or  the  ellipse. 
Do  you  not  recall  that  Greek 
and  Japanese  pottery  and  other 


the  next  in  the  ellipse,  and  the 
least  in  the  circle. 

The  four  sides  of  the  square, 
equal  in  length,  are  monoto- 
nous. The  square  is  more  mo- 
notonous than  the  oblong, 
which  has  two  equal  sides  of 
one  length  and  two  equal  sides 
of  another  length.  There  is  in- 
terest in  the  oblong  because  of 


BODIC 


iBHiinir" 


3mmc. 


I  Dome 


3IBIIQC 


30 


]  0)0}  c 


1  gin  Bn  r 


inafltnf 


iDOBia 


its  two  lengths.  It  makes  a  bet- 
ter book  page.  You  see  it  in 
street  car  advertisements,  in 
pamphlet  covers,  in  the  small 
advertisements  that  are  part  of 
the  set-up  of  this  page.  I 
notice  advertising  men  very 
seldom  use  a  square,  feeling 
that  it  is  monotonous,  I  sup- 
pose. 

The  circle  is  the  most  monoto- 
nous curved  line  figure  you  can 
use,  presenting  the  least  possi- 
bility of  variety.  The  square 
is  the  most  monotonous  straight 
line  figure.  If  they  are  used  to- 
gether they  are  the  most  wide- 
ly different  shapes  possible,  and 
are,  therefore,  not  consistently 
related  in  variety.  They  are  in- 
consistently, loudly,  broadly 
far  apart,  at  the  very  extremes 
of  shapes,  therefore  too  diflfer- 
ent  to  use  together. 

The  limit  of  contrast  in  shapes 
is  the  circle  and  the  square. 
The  next  limit  is  the  circle  and 
the  oblong.  The  expenditure 
of  the  greatest  contrast  in 
shape  or  the  greatest  contrast 
in  color  on  a  thing  that  does  not 
call  for  the  greatest  contrast  is 
waste — just  as  if  I  had  expend- 
ed money  or  ink  w^here  I  didn't 
need  it.  I  had  better  save  the 
money  and  the  ink  for  the  last 
word,  or  the  word  I  want  to 
make  vitally  strong. 

I  hold  that  the  indiscriminate 


use  of  circles  and  squares  in 
close  proximity  is  a  waste  of 
good  material  and  it  will  not 
pay,  in  that  it  is  using  your 
strongest  points  of  contrast  for 
places  where  the  greatest  good 
is  not  gained  by  their  use.  By 
so  using  them,  they  become 
common  and  fail  to  make  any 
appeal  when  they  are  used  for 
emphasis. 

One  of  the  most  monotonous 
things  that  has  ever  been  done 
in  the  history  of  the  world  of 
design,  is  taking  one  square  and 
putting  a  smaller  one  into  it  on 
the  diagonal,  and  another 
smaller  one  in  that,  and  another 
smaller  one,  and  so  on.  When 
a  "designer"  doesn't  know  how 
to  get  one  more  new  scroll  out 
of  the  acanthus  leaf,  he  general- 
ly resorts  to  this  process  of 
manipulating  squares. 

Now,  besides  inconsistent 
shapes,  we  very  frequently 
come  across  consistent  shapes 
badly  placed,  so  that  it  is  the 
arrangement  as  well  as  the 
choice  of  the  shapes  we  must 
consider.  In  designs  of  any  type, 
vou  may  use  the  best  things,  you 
may  choose  the  most  effective 
things  and  spoil  them  by  their 
application.  I  might  have  the 
best  furniture,  the  best  wall 
paper,  pictures,  carpets  and 
rugs  and  other  interior  deco- 
rating material,  yet  I  can  make 
a  mess  of  a  room  if  I  don't  know^ 


]QQ|( 


31 


BBDI 


I^BUBICI 


how  or  where  to  put  the  things. 

1  should  judge  in  advertis- 
ing, if  a  man  doesn't  know  of 
the  possibilities  of  arrange- 
ment, he  may  select  an  excellent 
shape  in  type  and  decorative 
units  and  yet  have  a  bad  result, 
because  there  is  no  thought 
upon  the  arrangement,  al- 
though the  selection  is  good.  I 
want  to  call  your  attention  to 
the  very  badly  related  shapes 
made  by  type  masses  as  well  as 
by  decorative  material  in  the 
mass  of  general  advertising. 
How  does  it  appeal  to  you? 

Can  you  see  then,  from  these  il- 
lustrations, that  consistent  va- 
riety in  shapes  has  a  place  in 
the  advertisement  but  that  the 
indiscriminate  use  of  shapes 
destroys  the  possibility  of 
strength,  because  there  is  no 
co-ordination  there;  because 
there  is  no  relationship?  Will 
you  look  at  the  usual  street  car 
card,  with  this  point  in  mind? 
Notice  how  many  different 
forms  of  material  all  appear  in 
one  card  and  how  weak  and 
mixed  the  appeal  of  the  whole 
card  is  on  account  of  this. 

There  are  many  cards  in  every 
car  in  which  there  are  so  many 
forms  in  the  type  arrangement 
that  there  is  no  one  leading 
thought,  no  consecutive  leading 
quality  to  the  advertisement  at 
all.    It  is  not  so  much  the  sepa- 


ration of  the  advertisement  but 
the  use  of  too  many  shapes  in 
the  type  and  decorative  matter 
that  is  used. 

The  time  will  come,  before  the 
end  of  this  year  I  hope,  when 
you  will  think  of  the  Greek  law 
when  you  see  a  straight  line 
figure  with  another  straight 
line  figure,  or  a  curved  line  fig- 
ure with  another  curved  line 
figure,  or  a  curved  with  a 
straight  line  figure. 

A  circle  within  a  square,  these 
being  the  most  opposite  shapes, 
expresses  the  pole  of  greatest 
difference.  If  I  place  an  octa- 
gon within  a  circle,  is  it  more 
harmonious  with  the  circle  than 
is  the  square?  It  is.  There  is 
some  point  where  there  is  re- 
lationship between  curved  line 
figures  and  straight  line  figures 
which  is  pleasing. 

A  triangle  in  a  circle  is  very 
bad.  If  I  put  the  triangle  in  a 
square  it  is  also  bad.  If  I  put 
a  hexagon  within  a  square,  it 
will  be  more  nearly  harmoni- 
ous than  the  triangle.  If  I  put 
a  block  of  print  or  a  title  across 
an  ad,  and  directly  under  that  a 
circle,  and  then  use  straight 
lines  below  that,  the  result  is 
beyond  hope  as  to  harmony. 

In  brief,  then,  consistently  re- 
lated shapes  and  sizes  is  the  first 
principle  in  the  work  of  adver- 
tising arrangement. 


§1 

32 


=inoc 


DUDIIIII 


11 


SIGNIFICANCE 
OF  BALANCE  IN 
ADVERTISING 

CHAPTER   III 


}mc 


DBDISC: 


3BQI DDI 


JQQ  QQJ[ 


iTnnpin  f 


SQUIB 


SIGNIFICANCE      OF 
BALANCE     IN     ADVERTISING 


CHAPTER  III.  If  I 
==^=^=  hold 
in  my  hand  a  pair  of  balance 
scales  which  are  absolutely  cor- 
rect,   with    two    pans,    one    at 


pan  this  lead  pencil,  the  pan 
will  immediately  sink  to  the 
limit  of  its  possibility,  and  the 
left  hand  one  will  rise.  They 
will   then   seem   to   be   farther 


/ 

I 


II 


III 


IV 


(I)  ATTRACTIONS  WHICH  ARE  EQUAL— IX  SIZE,  SHAPE,  COLOR,  ETC.— BALANCE  AT 
EQUAL  DISTANCES  FROM  THEIR  CENTERS.  (II)  UNEQUAL  ATTRACTIONS  BALANCE  AT 
DISTANCES  FROM  THEIR  CENTERS  IN  INVERSE  RATIO  TO  THEIR  POWERS  OF  AT- 
TRACTION. (Ill)  DIFFERENT  SIZED  ATTRACTIONS,  BALANCED  ON  EACH  OTHER  AND 
OX  THE  ACTUAL  CENTER  OF  THE  INCLOSING  FORM.  (IV)  SAME  AMOUNT  OF  MAT- 
TER ARRANGED  IN  BI-SYMMETRIC  BALANCE.  LINE  SHOWS  ACTUAL  CENTER;  DOTTED 
LINE  OPTICAL  CENTER,  BALANCED  BOTH  ON  VERTICAL  AND  HORIZONTAL  AXES. 


either  end  of  the  beam,  the  two 
pans  will  rest — one  exactly  op- 
posite the  other  in  its  position. 
This  is  due  to  the  fact  that  there 
is  a  law  called  the  law  of  gravi- 
tation which  attracts  everything 
towards  the  center  of  the 
earth,  and,  inasmuch  as  the 
right  hand  pan  is  attracted  as 
strongly  as  the  left  hand  one, 
the  pans  rest. 

If  I  throw  into  the  right  hand 


apart  than  before,  and  you  will 
have  a  feeling  that  there  is 
something  wrong  with  the 
scales.  But  let  me  throw  an- 
other pencil  of  equal  size  and 
weight  into  the  other  side  of 
the  scales,  and  the  beam  will 
immediately  become  level  again 
— the  equilibrium  is  brought 
back — gravitation  has  asserted 
itself  equally  on  each  end,  and 
the  pans  are  at  rest  again  in 
their  original  position. 


imnc 


joinc 


35 


( 


lEBDIC 


]  Q]  on  [ 


HBBDC 


inna 


g 

i 


There  are  two  words  that  I  cause  the  eye  is  not  very  sensi- 
want  you  to  get  from  this  illus-  tive  to  the  law  of  balance  any 
tration:  "attraction"  and  "rest."  more  than  the  other  senses  are. 
The  application  of  the  law  of  Few  people  not  expert  musi- 
gravitation  to  the  eye  is  called  cians  realize  the  balance  of  in- 
balance.    In  design  it  is  known     struments  in  an  orchestra  or  of 

as     balance,      voices     in     a 

whether   it   is     |  ^ ^_^^^ ^ ^ ^ ^ ^ ^^ ~     |      choir. 

architecture, 
interior  deco- 
ration, adver- 
tising design, 
carpet  or  rug 
design,  or 
whatever  it  is. 
We  use  that 
term  in  criti- 
cism of  any 
design,  and  it 
is  the  name  of 
the  second 
fundamental 
principle  of 
arrangement. 


1  i 1  1  1   1          II 

IIIUIlllllllllllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllllllillllMllllUllllllllil!^^ 

1 

m 

1 

Iilllllllllll 1 ■Illilllli 

lllliillllllllllllllllilllllilllllllillllllllillill           1 

||        1        III  III              i  11  IJil  iljlililllliill       1 

MATTER  ARRANGED  WITH  IX  HOR- 
IZONTAL FORM.  BALANCED  ON 
OPTICAL    CENTER    (DOTTED    LINE). 


WILLIAM    M.    ODOM 


|■H.B^n.^^E  9«;4.i  Sch 


I  want  you  to 
feel  that  there 
is  nothing 
"art-schooly'' 
about  that 
term  "B  al- 
ance,"  because 
it  is  the  law  of 
eye  attraction,  just  as  gravita- 
tion is  the  .law  of  so-called 
weight.  Tt  merely  puts  the  eye 
of  the  human  being  in  line  with 
the  law  of  o-ravitation.    We  no 


(.JSTRUCTiiH   sew  VrlRK   ARI    *kMtl'.l. 

I  Ale    WITH    n.  (I     VVAT^ON    AVtl   ti>         t 

DKCf)RATOR  AND  ADVISORY  BUYER 
OF  TAPESTRIKS.  RUGS,  HANGINGS. 
AND  PERIOD  FUKNISHINUS.  OUT  OF 
TOWN  ORDERS  W  I  I.  L  R  E  C  E  I  V  E 
CAREFUL  A'lTENITON,  INDniDUAL 
AND  ORIGINAL  DECORATIVE  SCHEMES 
OFhiCE  ;     •.'239     BROADWAY 


A  BUSINESS  CARD  WITH  WELL- 
BALANCED  MASSES  OF  TYPE  MAT- 
TER      AND       WELL-RELATED       MARGINS. 


It  is  not 
strange  that 
we  fail  to  see 
when  things 
are  not  bal- 
anced in  ad- 
vertising, be- 
cause we  are 
not  accus- 
tomed  to  see 
them  so  ar- 
ranged. You 
can  see  that  to 
the  sight  the 
scales  are 
more  pleasing 
and  harmoni- 
ous and  rest- 
ful with  the 
earth's  sur- 
face, the  hori- 
zon and  the 
floor  line 
when  the 
beam  is  hori- 
zontal than  when  at  an  angle. 

If  I  should  place  a  board 
across  a  stone  wall  and  put  vou 
on  one  end,  and  get  on  the  other 


NKW    VOftK.  ClI'V 


tice  this  law  of  balance  in  some     end  myself,  we  should  have  a 
things,  but  not  in  others,  be-     more  restful  appearance  if  we 


36 


QCOC 


lO  osc 


iraa 


were  of  equal  weight  and  the     scales  and  the  teeter-board,  be- 


§ 


ends  of  the  board  were  at  equal 
distance  from  the  w^all,  than  if  I 
weighed  fifty  pounds  more  than 
you.  The  board  line  would  be 
more  harmonious  with  the  line 


cause   of   the   page   limits   and 
other  conditions. 

Let    us    notice    next   what    the 
things  are  that  attract  in  an  ad- 


of  the  stone  wall,  and  with  the     vertisement,    or    some    of    the 


^4    Timely  Gifts" 

,\    Diamonds.  Jewelry.  WatchesThe 
best  in  each  at  moderate  prices. 

An  economical  watch  is  the 


Iiigiei-scMbenton 

*^   «  52°  to  $  1500 

A  jeweled  timepiece  of  exceeding 
accuracy,  beauty  and  durability 


A  STRKET  CAR  A  U  \  K  R  T  1  S  K  M  E  X  T  WTTH  W  ELL- B  A  T.  A  X  C  K  D  ILLU.STRA- 

T  I  o  X  s  A  X  ]:»  T  1-:  x  t  m  a  t  t  ]•:  r  a  n  d  w  e  l  l  -  r  e  l  a  t  e  d  d  a  c  k  g  r  o  li  x  d. 


surface  of  the  earth,  and  with 
all  things  related  to  that  pic- 
ture, than  it  would  be  with  one 
end  up  and  the  other  down,  the 
board  making  an  inclined  line. 

I  think  you  can  apply  that 
principle  just  as  strongly  in  the 
arrangement  of  the  material  of 
which  your  ad  is  made — as 
soon  as  we  understand  that 
word  "attraction,"  which  is  the 
power  a  thing  has  to  catch  and 
hold  the  attention.  Balance  is 
more  necessary  to  the  advertise- 
ment than   in   the  case  of   the 


things  that  attract,  and  why. 
Does  it  make  any  difference  in 
what  part  of  the  advertisement 
a  thing  appears,  as  to  whether 
or  not  you  see  it  quickly?  Is 
there  any  choice,  in  other 
words,  as  to  what  part  of  the 
page  you  would  rather  have  if 
you  were  advertising  in  a  news- 
paper? If  so,  what  location  is 
best? 

Here  is  one  position  in  the  top 
center  of  the  page  without 
much  display.  Does  it  hold 
vou  better  than  if  it  were  in  the 


B 

e 


amc 


37 


BODC 


noni 


lower  left  corner?  I  want  to 
get  you  to  see  that  position 
counts  or  attracts  the  eye  nat- 
urally. In  the  law  of  attraction 
there  is  the 
question  (3f 
position  then 
to  be  consid- 
ered, in  every 
arrangement, 
in  every  page 
set  up.  If  you 
will  agree 
with  that,  that 
is,  I  should 
judge,  the  first 
thing  to  be 
considered  as 
a  factor  in 
balance. 


Second,  if 
perfectly  con- 
sistent shapes 
are  used,  is 
there  the  same 
effect  as  if  in- 
consistent ones 


'T~'HIS    new    P.irenteii    Cushioned    Clutch 
Stn^^ie  MuHla  Dri\  c  L.ithc  \\  .is  designed 


m 


Then,  in  our  question  of  bal- 
ance, we  have  to  consider  odd 
sizes,  just  as  we  have  to  consider 
position   in  the  unit.     A  very 

much  smaller 
or  very  much 
larger  spot  di- 
rects the  eye 
to  it  by  its 
contrast.  The 
u  n  b  a  lanced 
placing  calls 
the  attention 
every  time  to 
the  most  em- 
phatic c  o  n  - 
trast. 


,inJ  instructive 


Whitconih-Blalsil.-; 


Nhichinc    Tool    C" 

M-.:  -IS.  A. 


A  WELL-BALANCED  SINGLE  PAGE 
AD.  THOUGH  MADE  UP  OF 
MATERIAL    DIFFICULT    TO    PLACE    WELL. 


The  next  im- 
portant thing 
is  the  unique 
picture  idea. 
We,  in  this 
country  more 
than  in  any 
other,  V  i  e  w 
this  as  essen- 
tial   to    every 


are  used?    If  not,  then  there  is  advertisement,  and  later  on  I 

something  in   a   radical   shape  shall  spend  an   entire  chapter 

that  attracts  the   eye,   is   there  upon  the  pictorial  as  related  to 

not?     The   second    thing   then  advertising.    I  find  that  in  Eu- 

that    attracts    the    eye    is    odd  ropean  countries  the  naturalis- 


shapes.  Whenever  I  change 
the  general  scheme  or  form  of 
my  set  up,  I  bid  for  a  look,  and 
if  I  don't  use  that  method  in- 
discriminately, then  I  am  all 
right.  If  I  use  it  immoderately 
I  am  all  wrong. 


tic  pictorial  is  much  less  essen- 
tial to  an  understanding  of 
words  than  with  us.  This  is 
evidence  of  the  picture  book 
age  of  our  intelligence. 

I  want  to  have  you  see  whether 
there  is  always  greater  attrac- 


)IDS 


38 


QCCK 


J  0)12]  [ 


3Q00IDC 


unoB 


tion  in  the  pictorial  cut,  or 
whether  the  straight  column, 
the  well  arranged  mass,  attracts 
the  attention  just  as  quickly  in 
some  instances.  Does  it  seem  to 
make  any  difference  in  the  ar- 
rangement of  the  page?  If 
pictures  draw  attention  they  be- 
come a  factor 
in  balanced  ar- 
r  a  n  g  e  m  e  n  t, 
whether  they 
help  the  adver- 
tisement or  not, 
so  far  as  its  effi- 
ciency is  con- 
cerned. 


Unique  and  pe- 
culiar decorat- 
ive matter  or 
material,  I 
think,  also 
counts.  I  mean 
the  border,  the 
ornaments  and 
the  like.  You 
see  such  things 
quickly 
enough,  but 
usually  you 
don't  meet  them 


Outpvit  Limited 
Without  HigK  Prictf 


The  Howard  Watch 

M: 


JohnMuirS(a 
Odd  Lots 

Of  SlocU 


with  understanding,  both  as  an 
attracting  force  and  as  a  per- 
suasive factor. 

We  perceive  that  certain  posi- 
tions attract  the  eye,  all  other 
things  being  equal ;  second,  that 
odd  or  peculiar  shapes  and  sizes 

of  matter  at- 
tract the  eye ; 
third,  that 
unique  or  new 
picture  illus- 
trations attract 
the  attention, 
and,  fourth, 
that  all  pecu- 
liar decorative 
matter  possess- 
es an  attractive 
power.  As  a 
question,  then, 
of  attraction, 
we  have  all 
these  things 
without  consid- 
ering color,  but 
we  do  have  to 

A     FULL      PAGE     ARRANGEMENT    ^p'jI  wi' th  wh ifP 
OF    UNRELATED    ADS    WELL    ^eai  VVlin  VVIIUC 

BALANCED    IN    AN    OCCULT    STYLE.     agaiuSt      black, 

and     black 

Balance,  you  against  white,   and   there  is   a 

see,  is  a  matter  of  attracting  the  difference       between       white 

eye,  but  if  a  thing  attracts  the  against  black  and  black  against 

eye    and    then    doesn't   sell,    it  white  in  power  of  appeal.    We 

doesn't  come  up  to  our  measure  shall  deal  wnth  that  when  we 

of  what  an  advertisement  ought  take  up  color.    I  just  want  you 

to  do — catching  the  attention  is  to  see  that  color  counts  in  the 

one  thing   and   delivering  the  matter  of  balance, 
goods  is  quite  another;  hence, 

the  necessity  for  using  balance  Now  we  must  get  a  general  law 


§ 

§ 


§ 


e 


^QHQQC 


3II!DII1[ 


§ 


39 


QQD  C 


mna 


as  to  the  page  center  and  the  these  forms  and  sizes."  If  I 
placing  of  material  on  the  page  were  to  bring  to  you  the  illus- 
with  relation  to  the  center.  The  trations  and  designs  of  the  in- 
optical  center  of  the  page  is  a  terior  decorator,  the  exterior 
little  above  the  real  center,  and  architect  and  the  carpet  and 
around  about  this  is  a  natural  rug  weaver,  I  could  show  you 
location  for  the  center  of  page  that  in  advertising  design  you 
attraction.  Balance  is  reckoned  do  just  the  same  things  that 
from  right  to  left  of  a  vertical  these  others  do;  you  pick  out 
line  drawn  through  this  point,  the  same  figures  and  recognize 
and  above  and  below  a  horizon-  the  same  excellences;  in  short, 
tal  line  through  the  same  point,  you  stand   for  the  same  good 

things  that  other  people  stand 
There  are  two  types  of  balance  fo^-,  and  the  man  who  violates 
recognized:  First,  the  bi-sym-  f^g  temperate  use  of  these 
metric  balance,  or  the  balance  things  you  find  to  be  ineffective 
in  which  there  is  the  same  de-  j^  his  work.  Then  if  I  can 
gree  of  attraction  on  either  side  ^ake  you  feel  that  the  temper- 
of  a  vertical  line  through  the  ^te  use  is  the  telling  use,  vou 
center,  and,  second,  what  is  ^yill  see  that  it  is  better  to  el'im- 
known  as  the  occult  balance  i  in^te  this  tendency  to  overdo 
or  a  "felt"  balance.  Occult  things— over-use  principles- 
balance  is  that  balance  which  because  the  human  mind  can 
is  rather  sensed  than  mathe-  only  catch,  hold  and  digest  so 
matically  worked  out.  The  much  at  a  time.  That  has  been 
bi-symmetric  balance  is  simple,  proven.  When  we  overload 
dignified,  strong;  the  occult  is  any  one  of  the  human  senses 
interesting,  more  involved  and  with  material  beyond  its  ca- 
more  difficult  to  perceive  and  pacity  the  material  has  not  the 
control.  We  have,  then,  the  desired  effect, 
two  kinds  of  balance  to  reckon 

with,  and  we  must  choose  the  In  advertising,  more  than  in  any 

one  in  each  case  which  brings  other  phase  of  this  work,  we  can 

out  most  strongly  the  point  to  least   afford    to   waste   matter, 

be  made.  waste  money,  waste  time,  waste 

material;  so  I  take  it  that  the 

We  have  now  developed  two  fundamental  thing  is  to  see  the 

principles  of  general  arrange-  capacity  of  the  human  mind,  to 

ment  in  materials,  viz. :  "Con-  understand  what  are  the  laws  of 

sistent  shapes   and   sizes"    and  expression,  and  not  to  over-use 

"Balance    in    arrangement    of  these  forces  beyond  the  mind's 


s 


capacity.  This  is  the  commer- 
cial standpoint  of  conservation 
instead  of  waste. 

Now,  there  is  a  belief  in  New 
York  more  than  any  other  place 
I  ever  saw,  and  in  this  country 
more  than  any  other,  and 
among  advertising  men  more 
than  other  people,  that  the 
human  being,  or  the  picture  of 
the  human  being,  catches  the 
eye  and  holds  attention  quicker 
and  surer  than  anything  else.  I 
don't  believe  that  the  public  are 
such  idiots  that  they  always 
have  to  have  a  human  being  pe- 
culiarly treated  to  interest  them. 

I  acknowledge  the  power  of 
human  interest,  but  there  are 
other  things  of  more  import- 
ance than  lugging  in  the  human 
figure  with  every  conceivable 
form  of  advertising.  This  prac- 
tice has  grown  out  of  the  mis- 
taken idea  of  art  as  a  "pretty 
thing"  and,  particularly,  a 
pretty  picture  of  a  pretty  wo- 
man, and  that  this  incentive 
must  be  offered  everybody  in 
order  to  induce  them  to  look  at 
and  become  interested  in  any- 
thing. 

The  people  in  this  country  are 
practical,  and  they  should  not 
think  of  pictures  as  the  only 
thing  that  will  appeal  in  adver- 
tising. This  idea  is  for  primi- 
tive people,  children  and  deca- 


dent races.  You  will  see  in  five 
years  a  great  decrease  in  the  use 
of  the  human  figure  in  adver- 
tising. There  has  already  been 
a  great  decrease  through  a 
knowledge  of  the  waste  of  time 
and  space,  and  through  the  per- 
ception that  a  silly  mess  of  non- 
sense does  not  advertise,  though 
it  may  amuse.  It  is  true  the  in- 
temperate use  of  pictures  in  this 
phase  of  design  may  attract  a 
certain  class,  but  it  is  not  true 
that  their  use  is  good  advertis- 
ing when  they  are  irrelevant  to 
the  point  of  the  advertising 
idea.  They  may  make  or  mar 
the  balance  of  the  page,  but  not 
improve  the  advertisement  as  to 
its  quality  as  a  selling  agent. 

It  must  be  clear,  then,  that  ar- 
ranging a  page  or  a  card  to 
amuse,  is  not  arranging  one  that 
will  convince  an  intelligent  be- 
ing of  the  value  of  the  article 
one  is  seeking  to  deliver  to  the 
unsuspecting  public.  This  same 
quality  of  inconsistency  is  seen 
in  most  of  our  moving-picture, 
evening-electric-light  signs  now 
causing  so  much  talk.  On  the 
one  hand  the  producing  house 
and  the  advertising  man  are 
putting  their  power,  money  and 
time  into  the  one  Idea  of  out- 
doing every  other  similar  house 
in  freakish  ideas  and  size  and 
arrangement  of  material — with 
the  one  thought  that  they  are 
attracting    attention.      On    the 


1 
s 
n 


§ 


DUBBC 


innnn  f 


JQ]  lOI 


mni 


B 


41 


pinBii  panici  imBii  iiniinit 


Other  hand,  the  poor  wretch  and  the  intelligent  man  is  see- 
seeking  a  show  without  money  ing  the  show  and  trying  to  ex- 
is  getting  his  amusement  free,     cuse  its  existence. 


■ 
■ 


ART  IN  ITS  QUALITY  HAS  TWO  ELEMENTS— FITNESS  AND 
BEAUTY.  LET  US  NOT  IMAGINE  THAT  THINGS  WHICH 
ARE  REALLY  FIT  ARE  ALWAYS  BEAUTIFUL;  LET  US  NOT 
THINK  WE  ARE  ARTISTIC  BECAUSE  WE  LIKE  AN  UGLY 
THING,  SIMPLY  BECAUSE  IT  IS  FIT  FOR  ITS  PURPOSE. 
IT  IS  NOT  NECESSARY  THAT  A  DISHPAN  SHOULD 
BE  UGLY  TO  BE  A  DISHPAN.  IT  IS  NOT  NECESSARY 
THAT  A  PIANO  SHOULD  BE  OUTRAGEOUS  IN  ITS  PRO- 
PORTIONS IN  ORDER  TO  BE  A  PIANO  AND  TO  RESPOND 
WELL  TO  THE  ARTIST'S  TOUCH.  IT  IS  NOT  NECESSARY 
THAT  A  HAT  SHOULD  BE  AN  UMBRELLA  OR  A  FLOWER 
POT  TO  BE  A  HAT.  IT  MAY  BE  BEAUTIFJ^L  AND 
STILL  BE  A  HAT.  IT  IS  NOT  NECESSARY  THAT  AN 
ADVERTISEMENT  SHOULD  GIVE  A  SHOCK  OF  DISGUST  ^ 
IN  ORDER  TO  BE  AN  ADVERTISEMENT.  NEITHER  IS 
IT  ESSENTIAL  THAT  A  THINp  SHALL  BE  TOO  ESTHETIC 
TO  BE  WHOLESOME,  IN  ORDER  TO  BE  ARTISTIC. 
A  THING  CAN  BE  BEAUTIFUL  AND   STILL  BE  DIGNIFIED;  § 

A  THING  CAN  BE  BEAUTIFUL  AND  STILL  BE  LIVABLE;  A 
THING  CAN  BE  BEAUTIFUL  AND  STILL  BE  MANLY  OR 
WOMANLY.  WHEN  THIS  QUALITY  IS  PRESENT  IN  ANY 
MADE    THING,    THERE    WE    SHALL    FIND    ART.      F.   A.   P. 


42 


MOVEMENT  AS  A 
VITAL  FACTOR 
IN  ADVERTISING 

CHAPTER  IV 


48 


i 


)8PID[ 


1  BIT  Ml  r 


}amt 


M  O  V  E  M  E  N  T    AS    A    VITAL 
FACTOR     IN     ADVERTISING 


CHAPTER    IV.     If    at- 

tention 
is  called  to  the  left  end  of  a  con- 
tinuous line,  the  obvious  tend- 
ency is  to  fol- 
low   the    line 
from    left    to 
right     to     its 
end.     This  is 
true  of  either 
the  straight  or 
the  curved 
line. 


The  eye  trav- 
els naturally 
and  continu- 
ously from 
left  to  right 
in  type,  in 
spots,  in  illus- 
tration, in  all 
things.  If  a 
series  of  spots 
are  nearer  to- 
gether than 
the  distance 
across  any  of 
them,  we  have 
no  difficulty  in 
reading  con- 


111 

—        —        —       _ 

- 

— 

— 



S 

SHOWING  THE  OBVIOUS  TEN- 
DENCY OF  THE  EYE  TO  FOLLOW 
LINES  AND  SPOT  SUCCESSIONS  TO 
THE       END       OF      THE       SEQUENCE. 


spot.  When  we  make  that  dis- 
tance greater  than  the  width  of 
the  spots  we  have  difficulty  in 
passing  from  spot  to  spot.    This 

proves  that 
there  is  a  law 
of  co-ordina- 
tion of  things, 
dependent  up- 
on the  distance 
they  are  apart, 
and  that  the 
law  of  co- 
ordination of 
thought  de- 
pends upon 
this  distance 
also. 


SHOWING  HOW  AN  ENCLOSING 
FORM  CHANGES  ITS  APPARENT 
PROPORTIONS  ACCORDING  TO  THE 
DIRECTION    OF    LINE    MOVEMENTS. 


The  principle 
o  f  arrange- 
m  e  n  t  by 
which  the  eye 
is  led  natural- 
ly from  one 
part  of  a  de- 
sign or  adver- 
tisement  to 
another  part 
is  known  as 
mo  vem  ent ; 
movement  being  the  arrange- 
ment   which    carries    the    ob- 


secutively;  that  is,  the  mind  has 

no  difficulty  in  traveling  from 

one  spot  to  another  when  the     server's  eye  from  place  to  place 

space  distance  between  them  is     in    the    order   or   sequence    in 

less  than  the  distance  across  each     which  you  wish  him  to  go. 


45 


J 


lOHBC 


^iiniiQii 


ZJfUMC 


IDDB 


Advertising    must    first    com-  Because  these  laws  of  arrange- 

mand  attention;  it  must  make  ment  and  attraction  are  active 

its  appeal  in  such  a  natural  way  in  every  animal  and  individual, 

that  there  is  no  effort  on   the  they  should  appear  in  the  ar- 

part  of  the  one  who  seeks  to  rangement    of     material     that 
grasp  the  im- 


individuals 


portant  pomts 
to  be  made,  in 
the  order  of 
their  impor- 
tance. One  of 
the  principles 
o  f  arrange- 
ment which  is 
the  most  active 
in  attracting 
and  directing 
attention  to 
certain  places 
is  this  princi- 
ple of  move- 
ment or  mo- 
tion. 

Since  order  is 
the  law  of  the 
universe; 
since  the  stars 
and  the  plan- 


OPPOSING  LINES  CALL  ATTENTION 
TO  THE  POINT  OF  STRONGEST  OP- 
POSITION. COVER  LINES  A,  B  AND 
C  AND  NOTE  RESULT.  ALSO  SEE 
HOW  THESE  LINES  HELP  TO  DE- 
STROY THE  CENTERING  OF  ATTEN- 
TION ON  POINTS  N  AND  Y.  INCON- 
SISTENT MOVExMENTS  DESTROY  UNITY. 


A  WELL-BALANCED  ARRANGEMENT 
OF  LINES  AND  SPOT  COMPOSI- 
TION. CONSISTENT  IN  MOVEMENT, 
WITH     A     UNIT     AS     A     RESULT. 


deal  in,  no 
matter  what 
that  material 
is.  This  is  the 
reason  that  the 
advertisement 
which  is  well 
set  up,  which 
is  orderly  ar- 
ranged, which 
conforms  to 
the  laws  of 
general  a  r  - 
rangement  of 
the  universe, 
is  more  ap- 
pealing than 
a  disconnect- 
e  d  or  u  n  - 
o  r  g  a  n  i  zed 
one.  It  is 
built  in  con- 
formity with 
the  same  laws 
the    individual 


ets  are  swung 

from  day  to  day  and  year  to  year  under  which 
in  a  regular  orbit;  since  the"tide  lives.  If  those  laws  were  less 
is  governed  by  a  law  of  order;  uniform  in  nature  they  would 
since  the  world  is  held  in  its  "o^  ^PPe^j  so  strongly  m  adver- 
place  by  a  similar  law;  since  tising,  and,  therefore  would  not 
*^  J  •  1  1  1  c  be  worth  while  to  study  in  rela- 
you  stand  upright  by  a  law  of  ^.^^  ^^  ^^^  arrangement  of  ad- 
attraction,  these  laws  of  ar-  vertising  matter, 
rangement  are  active  in  every- 
thing which  enters  into  the  This  principle  of  movement  or 
life  of  the  individual.  motion,  being  the  law  by  which 


46 


] ID  GDI 


llOOB 


the  eye  moves,  is  active  in  de- 
ciding what  becomes  the  im- 
portant thing  to  the  observer, 
in  every  single  advertisement 
and  in  every  page  arrangement. 


cal  line  up  to  the  picture 
moulding.  It  is  inconsistent 
movement  when  it  takes  a  new 
direction  obliquely  from  the 
frame   to   a  picture   hook   and 


SdUflf— THE  EMCtNEERrNC  AND  MINING  JOURNAU-Sn 


Dtccinbcf  3,   iPlCt 


There's   Been 
A  Change 


in  rock-drilling  methods  with- 
in the  past  kw  years -^  change 
for  better  results^  lower  costs, 
increa:;ed  output. 

.This. change   lias    been   largely 
.brought  about  by  Wonder  Rock, 
Drills.- 

They  give  the  largest "  possible, 
mai^in  of  profit. an  J  "earn  more 
money  than  any  similar  machines 
in  existence.- 


Wonder 

Rock  Drills 


,bave  these   big  points   to  interest   the 
mine  manager  who  is  looking  (or  tiie 
^ost  efficient  drilL 
,The  Wonder  Rock  Drill  is  a  "one-man" 
''drill  using  one-third  the  air  required  by 
the  "  two-man" '^driUs; 
fudged  by  what  really  counts — t/ic' »tiii«-" 
ber  of  feel  o/  holes  drilled  per  cubu:  loot 
,  dj  air  consvmed — the  Wonder  RocIq 
Erin  does  more  than  any  other  drilL 
,!•  is  the  simplest  in  construction,  the 
easiest  to  run  and  the  cheapest  to  repair. ' 
lAnd  repairs  are  few  and  far  between. 
/All   our  flijmi  are  guaranteed  with'a 
t.'money  refunded  if  you're  not  satis&ed" 
oRer.^CaIii;<jg  Free. 

Hardsoc^  Wonder  Drill 
Company 

Ottumwat  Iowa 


A  M.\GAZIXE  PAGE  WITH  LINES  AND 
ILLUSTRATIONS  CREATING  A  FREAK- 
ISH MOTION,  UNPLEASANT  IN  SHAPE, 
DIRECTION  AND  PLACING,  AND  UN- 
BALANCING   AND    DIVIDING    THE    PAGE. 


If  the  movement  is  perfectly 
consistent,  it  is  always  in  har- 
mony with  the  structure  of  the 
builded  thing.  For  example, 
the  picture  wire  is  harmonious 
when  it  is  at  right  angles  with 
the  picture  moulding,  and 
when  it  is  a  continuation  of 
the  side  of  the  frame  in  a  verti- 


Double  the  Purchasing  Power 
of  Your  Money 

Do  you  Vnovv  tliai  home  turroundingi'c\< 
wondcrfuk  influence  on  domeitic  happiness — ' 
(he  development  of  high  idcalt— on  uliimjie 
(ucce»?^    You  do? 

Do  you  know  tliat  every' room  in  yo 
fiomc  can  be  artistically  and  cltpanili' 
furniihcd  at  a  price  that  ii  rii'n^i- 
Jously  low/      Vou  don't? 

THEN  you  owe  it  to  y 
»elf— to  your  family  — 
investigate    this    prup- 


Sl  Do  Exactly  $9 
itlieWorkof  £t 


^//T      Ao  ...m,^  ..  h„m.  J.  ..pi,  on..  « 
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Brooks  Manufacturing  Co.,  103  Rust  Ave., Saginaw, Midi. 


:\IOVEMENT  IN  ALL  DIRECTIONS  BY 
FURNITURE  IN  IMPOSSIBLE  POSI- 
TIONS, GIVING  THE  IMPRESSION 
OF  A  LACK  OF  KNO\\LEDGE  OF 
GRAVITATION,  OF  CHOICE  OF  AR- 
TICLES, OF  SPACE  LIMITS  OR  OF 
ARRANGEMENT.       MOST       UNPLEASANT. 

carries  the  eye  irresistibly  from 
the  picture  to  the  unimpor- 
tant  thing,    the   picture    hook. 

When  a  curtain  is  hung  so  that 
its  lines  are  vertical  with  win- 
dow frame,  with  wall  positions, 
with    doors,    etc.,    it    is    har- 


47 


]  QID  ( 


monious  with  the  lines  of  the  never  until  it  is  necessary.  It  is 
room  and  with  the  structure  of  only  a  question  of  judgment, 
the  room,  but  when  you  see  it     Inconsistent  motion  is  a  force 


curved  out  of 
the  naturally 
vertical  hang, 
you  have  a  new 
motion  which 
destroys  the 
harmony  —  all 
the  rest  of  the 
window  be- 
comes unim- 
portant because 
your  eye  is 
carried  away 
from  it. 


In  advertising 
the  movement 
is  good  when  it 
is  in  harmony 
with  the  edges 
of  the  paper  on 
w  h  i  c  h  it  is 
printed,  or  the 
enclosing  form 
or  border,  and 
when  it  is  in 
harmony  with 
the  masses  of 
general  matter 
on  the  page. 
But  we  may 
violate  consist- 
ent movement 
when  it  is  necessary. 


C0U8IN8E#i 


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W    *m.mt-nt-tm  w«at  tm  •! .  mm  ■'•war 


ft4U*»»M  !••■   Send  f*r  iMlmai*.  w%^»%tn 


NEWSPAPER  ADVERTISEMENT  SHOW- 
ING HOW  MOVEMENT  OF  SHOE  CAR- 
RIES THE  EYE  TO  THE  RIGHT  AND 
DOWN    TO    THE    MORGAN    &    BRO.    AD. 


NEWSPAPER  ADVERTISEMENT  SHOW- 
ING ARROW  MOVEMENT  WELL 
USED.      THE      TEXT       IS       TOO      LOW. 


There  is 
the  word  to  underline — when  it 
is  necessary.  Violate  it  when  it 
is  necessary  to  call  attention  to 
some     particular     place,     but 


used  indiscrim- 
inately, when 
simple  lines, 
straight  up  and 
down,  would 
do  as  well  and 
often  very 
much  better. 

It  seems  to  me 
that    we    want 
first   to   get   at 
two    points    of 
motion      or 
movement  that 
may  be   recog- 
nized    in     any 
discussion  o  f 
a  p  p  lication. 
One    is    called 
structural 
motion,  or  the 
build  of  things 
— ^where    one 
thing    goes 
against  another 
or    across    an- 
other.    Now, 
take  the  picture 
wire  that  does 
not   harmonize 
with  the  build 
of   the    picture 
frame  or  with  the  build  of  the 
room — that  is  called  opposition 
movement.     The  same  term  is 
used  when  one  line  crosses  an- 
other at  an  acute  angle,  or  when 


Qonc 


48 


Holme 


Hooimi 


iniini 


3ms 


)  IBO)  c 


J 10  BBC 


nma 


a  curved  line  crosses  a  straight  where  the  outside  shape  has 
line.  Note  that  in  all  such  been  kept  perfectly  consistent 
cases   the   attention   is   at   once     with  the  shape  of  the  enclosing 


called  to  the 
point  of  cross- 
ing. 

That  brings 
me  to  corners. 
The  corner  of 
the  picture 
frame  is  the 
part  of  the 
frame  you  see, 
and  hence  it 
ought  to  be 
struct  urally 
the  strongest 
part  of  the 
frame.  Where 
the  corner  of 
the  room  comes 


1 

e/isT^i';!? 

T»k»   a   bB«rtto.h»«rl    Ulk     —It.    ojT    S>mU   aD<1 
The  o«w  vprmK  itrlea.  'KA-ll/   ngbi,    N»«   To'k 
wrV-M  th*  world  o»Br 
^[ilS.                   ^^'*  ■**  *''•  •>""  HtU    n-w  S«ft  Collar*  ut6  fr 
gmK         «hiru.  H«D<fk*F«h.«f^  S«k..  Oln-..  Medium  W»., 
^Haa       -ear    aod   Unbrrlta*   tot   M'o  ao'l   Bova 

^^J<3         lift  00  3„,i. 

Easliab    ■Dyadif"    Boft    R^H  ro.u— th-   tw- -.1 
R^n    6n>ta  *a6  Ut^Un.  tl  M  -o  SIOOO 
McDi  Sniu  aod  Toprnsu  110  00  to  (30  00 

1 

'V'-n-f.at* 
fuhjou, 

..u.„..      f^H 
hi   1'nd.r               Ji. 

^ 

Miller's 

'  CLoracs  tuat  uak£  oood" 

form  of  page 
or  border,  and 
inside  has  gone 
radically 
wrong.  There 
are  others  that 
have  the  masses 
of  m  a  t  e  r  i  a  1 
well  arranged 
in  the  body,  but 
no  strength  at 
structural 
edges  of  the 
composition. 


A  NEWSPAPER  AD\'ERTISEMEXT  IX 
WHICH  ILLUSTRATED  MATTER. 
BY  POSITION,  BY  ACTION,  BY 
KIND  AND  BY  GAZE  MOVEMENT 
CALLS  ATTENTION  TO  SPE- 
CIFIC   FACTS    IN    THE    TEXT. 


One  thing 
which  is  always 
bad  is  where 
there  is  no  gen- 
together  is  the  strongest  struc-  eral  law  of  arrangement  ob- 
tural  place  in  the  room.  The  served  either  in  masses,  in  lines, 
corner  of  your  printed  page  is  or  in  shapes — where  the  masses 
its  strongest  structural  place  or  and  lines  and  shapes  do  not  cor- 
point.  If  you  put  a  border  respond  with  each  other  in  any 
around  a  page  and  then  put  sense  whatever.  And  sometimes 
some  little  finicky  weak  thing  the  arrangement  is  modern  and 
in  the  corner  of  the  border  you  economic,  but  the  printer  goes 
ruin  it.  That  is  the  last  place  back  to  mediaeval  days  for  his 
for  weakness,  for  all  lines  lead  type.  We  are  not  living  in 
the  eye  directly  to  it.  mediaeval  times.    You  don't  eat 

or  sleep  or  work  or  dress  the 
The  second  type  of  motion  is    way  they  did  then.    Why  print 
called    rhythmic,    and    that    is     that    way?    Learn     from    the 
what  we   use   to   get  grace  or     past;  don't  copy  it. 
ease  of  movement  like  the  rip- 
ples on  the  water.  Here  is  a  point  that  should  also 

be  made.    The  cover  of  a  book 
We    often    see    advertisements     or  pamphlet  ought  to  be  in  the 


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same  spirit  as  the  inside  of  the  does    it   make    the    room    look 

book — in  meaning  and  in  form,  higher    or     lower?       Higher, 

The  book  cover  ought  to  be  an  doesn't  it?    Suppose  I  bring  the 

embodiment  and  manifestation  picture  moulding  down   three 

of  the  name  of  the  book — in  the  feet,  and  put  a  chair  rail  around 


TRENTOirS  HVORITE  BOTTLED  BEER 

Old5todklPaIc3B<er  Oia5tockWicl«r 


Oia=5toclilPdl«38««r 


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ALWAYS 


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CAR  CARD  S  H  OWIN  G  T  Y  PE  MATTER  IN  OPPOSITION  MOVEMENT- 
UNNECESSARY,  DISTRACTING,  UNPLEASANT  AND  INEFFECTIVE. 
NOTE      EFFECT      OF      TWO      KINDS      OF      TYPE      AND      NEEDLESS      REPETITION. 


color  of  it;  in  words;  in  kind  of 
printing;  in  the  shape  of  the 
letters,  in  everything.  If  it  is 
not,  it  is  not  the  cover  for  that 
book.  A  pamphlet  cover  ought 
to  follow  the  same  line  of  com- 
mon sense.  Suppose  a  cover  is 
entitled  "Good  Printing."  If  it 
says  it  is  good  printing  it  should 
be  so,  but  the  shapes  of  which 
the  cover  is  made  up  may  make 
it  bad  printing,  and  there  may 
be  no  spaces  between  them  to 
give  coordination  to  its  parts. 
Good  printing  cannot  contra- 
dict itself. 

If  I  have  a  striped  wall  paper 
with  the  stripes  up  and  down, 


the  room  three  and  one-half  feet 
from  the  floor — it  looks  lower, 
doesn't  it?  I  would  thus  destroy 
the  shape  of  the  wall,  and  in 
precisely  the  same  way  printers 
destroy  page  shapes  by  bad 
margins  and  by  too  many  lines 
in  the  wrong  direction.  Pages 
that  started  out  to  be  in  good 
proportion  are  often  destroyed 
in  this  way. 

The  trademark,  often  in  itself 
and  often  by  its  placing,  de- 
stroys the  spirit  and  harmony  of 
an  entire  page.  A  shape  can 
sometimes  be  used  twice  and 
seem  less  bad  than  when  it  ap- 
pears but  once.     Then,  if  you 


BIDC 

50 


IIDBII 


IBIIDI 


JOB 


do  a  thing  that  is  a  violation  of 
correct  principles — -if  you  carry 
it  far  enough — do  it  times 
enough — we  eet  used  to  it.  The 
point  is  that  the  less  you  violate 
a  principle  for  the  sake  of  call- 
ing attention  the  more  that  de- 
parture counts — the  more  it 
sticks  out.  If  a  trademark  seems 
to  destroy  the  harmony  and  bal- 
ance of  a  page,  use  it  twice — it 
will  seem  less  prominent,  but 
the  balance  of  the  ad  will  be 
preserved. 

If  an  inclosing  line  of  any 
kind  is  used  all  of  the  material 
out  of  which  the  unit  is  made 
must  be  inclosed.  How  would 
you  like  a  portrait  of  your 
friend  with  half  his  head  out  of 
the  frame  on  the  wall  paper? 
This  undignified  breaking 
through  the  frame  is  a  cheap 
fad,  and  has  no  permanent 
place  in  decent  arrangement. 

Let  us  bring  these  things  to- 
gether a  little.  In  the  first 
place,  it  is  my  desire  to  define 
the  law  of  movement  so  that 
you  may  have  that  fixed  as  in- 
fluencing the  position  of  every- 
thing in  the  printed  advertise- 
ment, just  the  same  as  in  the 
position  of  all  material  on  a 
side  wall,  in  building  and  in 
articles  of  furniture,  in  cos- 
tume and  in  design  and  fashion 
drawing.  It  is  exactly  the  same 
law  in  advertising  arrangement 
as  in  other  matters  of  design. 


We  try  to  get  the  motion  of  the 
clothes  with  the  general  contour 
of  the  figure,  and  make  the  lines 
of  the  costume  conform  to  the 
lines  of  the  figure.  We  do  that 
in  men's  clothes  and  in  women's 
clothes. 

Then,  there  are  two  kinds  of 
motion:  Opposition,  where  the 
lines  oppose  each  other,  and 
Rhythmic,  where  the  lines  flow 
together  or  parallel  to  each 
other.  Opposition  of  line  is 
used  to  call  attention  where  the 
lines  meet  or  seem  to  meet,  but 
is  never  to  be  used  except  to  call 
particular  attention  there,  and 
should  never  be  used  in  adver- 
tising unless  it  is  essential  that 
the  eye  should  go  to  that  point 
at  once.  Use  it  when  it  is  ab- 
solutely necessary  to  get  that 
point  before  the  public,  and 
make  all  other  things  as  har- 
monious as  you  can.  The  eye 
will  at  once  go  to  the  one  inhar- 
monious thing. 

Rhythmic  lines  are  lines  of  the 
greatest  harmony — lines  that 
naturally  flow  together.  Keep 
the  lines  nearest  to  the  outside 
edge  of  the  page  as  nearly  par- 
allel with  the  edge  as  you  can. 
That  is  a  very  important  point. 
If  you  vary  from  it,  do  so  inside 
of  something  which  separates 
the  edge  from  the  deviation.  It 
is  then  supported.  It  simply 
means  following  the  structure 
of  your  page  whenever  you  can 


§ 


QODC 


DBllOC 


nimimi 


:3n]DiiD[ 


}ID)Q 


with  your  lines  of  ornament,  of  efficiency  of  the  matter  printed 

type  and  of  illustration.  behind  her  head.     Gaze  move- 
ment is  as  important  as  the  line 

Now  let  us  look  at  the  ways  in  in   pointing   to   a   thing   to   be 

which   motion   is  secured.     In  strongly  sensed.    A  man  shoot- 

the  first  place,  you  get  move-  ing  a  gun  or  throwing  a  ball 

ment  by  line.      In   the  second  will  cause  you  to  look  at  the 

place,    your   eye   passes    easily  point  he  is  going  to  hit,  not  at 

when  a  succession  of  spots  fol-  the  man — you  look  in  the  direc- 

low  each  other  regularly — one  tion  and  to  the  place  where  the 

mass  of  matter,   then   another,  bullet    or    ball    is    going.      If 

one  illustration,  or  a  bit  of  bor-  you  see  anybody  getting  ready 

der,  and  another — the  eye  nat-  to  shoot,  you  don't  look  at  the 

urally  goes  on  in  the  succession  man  but  at  his  mark.    Such  ac- 

of  spots.  tion  creates  movement  in  a  cer- 
tain direction. 
You    get   movement   from   the 

gaze  direction  of  persons.  We  There  are  four  things  to  deal 
call  it  "gaze  movement."  You  with  then  all  the  time.  The 
have  seen  pictures  of  the  Ma-  line  and  where  it  leads  to;  spots 
donna,  the  child  in  her  arms  in  succession  and  their  final 
and  some  saint  or  other  nearby,  end;  the  gaze  direction  of  the 
The  JVIadonna  is  looking  at  the  people  or  animals  in  your  illus- 
child  and  the  saint  is  looking  at  trations,  and  the  action  toward 
the  Madonna;  you  look  at  a  certain  place  or  thing.  Move- 
mother  or  saint  and  follow  their  ment  should  be  consistent 
gaze  to  the  child  and  it  becomes  throughout  the  given  unit, 
the  center  of  interest.  It  is  very  when  harmony  is  the  desired 
interesting  to  a  person  who  has  end.  When  not  consistent 
sensed  this  to  see  these  adver-  throughout  a  given  unit  use  the 
tisements  with  half  the  people  inconsistency  to  call  attention 
in  them  looking  out  of  the  pic-  to  an  important  thing.  That 
ture.  In  most  of  them  the  eyes  means  never  unless  you  have 
are  looking  away  from  the  to.  Movement  should  be  em- 
things  the  advertiser  wishes  to  ployed  like  other  forces — spar- 
have  folks  see.  It  is  important  ingly,  not  inconsistentlv,  not 
to  have  the  gaze  centered  on  the  haphazardly,  at  any  old  time, 
thing  you  want  to  emphasize,  in  any  old  wav,  in  anv  old 
If  you  have  a  pretty  woman  and  place,  because  it  cannot  do  its 
turn  her  away  so  as  to  show  the  efifective  work  when  it  is  used 
back  of  her  neck,  it  ruins  the  indiscriminatingly. 


-immii  iimnmi  unnrmi  n«wiwif 


52 


]  BQ  BQ  [ 


lOODC 


imal 

— IB 


Lines  of  attraction  in  movement 
should  never  cross  each  other 
except  when  it  is  a  necessity  to 
center  the  attention  at  the  cross- 
ing point,  and  never  at  the  bot- 
tom of  the  page ;  the  bottom  line 
should  be  sufficiently  separated 
horizontally  to  emphasize  the 
bottom  edge  of  the  page.  The 
lower  part  or  base  of  every 
single  ad  or  page  should  be  suf- 
ficiently emphasized  —  should 
have  sufficient  strength  com- 
ing into  it  to  give  support  to 


the  lower  line  of  the  page 
limit. 

There  is  only  one  exception, 
and  that  is  when  the  page  mat- 
ter looks  as  if  it  were  suspended 
from  the  top  as  one  mass.  Then 
that  is  the  most  important  place 
to  support,  and  the  bottom  re- 
quires less  strength.  This  is 
often  seen  in  the  form  of  title 
pages  and  last  pages  of  books 
and  pamphlets  not  entirelv 
filled. 


BORN  IN  MAN,  AS  MUCH  AS  APPETITE  FOR  FOOD  WAS 
EVER  BORN  IN  MAN,  IS  A  DESIRE  FOR  BEAUTIFUL  THINGS. 
AS  MUCH  AS  MAN  EVER  DESIRED  SLEEP  OR  AIR,  HE 
DESIRES  BEAUTY.  THE  YOUNG  CHILD,  THE  ADULT  CIV- 
ILIZED MAN  OR  WOMAN  REACHES  OUT  UNCONSCIOUSLY 
AFTER  the'  BEAUTIFUL,  AFTER  SOMETHING  WHICH 
PLEASES  THE  .ESTHETIC  SENSE  THROUGH  THE  EYE, 
THROUGH  THE  EAR,  OR  THROU.GH  THE  NATURAL  SENSES. 
ART  POSSESSES  AN  ELEMENT  WHICH  SATISFIES  THIS 
DESIRE  FOR  BEAUTY.  WHENEVER  THERE  IS  IN  MAN  A 
RESPONSE  TO  THE  BeXuTIFUL,  THEN  IT  IS  THAT  ART  IS 
DOING  ITS  WORK— THAT  IS,  IT  IS  SATISFYING  THIS  DE- 
SIRE FOR  BEAUTY   IN   MAN'S  NATURAL  MAKE-UP.     F.  A.  P. 


i 


e 
i 


'^mi^iMi  f 


IIBBII 


53 


EMPHASIS  AS 
APPLIED  IN 
ADVERTISING 
CONSTRUCTION 

CHAPTER    V 


i 


§ 


i 


EMPHASIS   AS    APPLIED   IN 
ADVERTISING  CONSTRUCTION 


CHAPTER     V.     If    the  lows  the  idea  of  gyration  or  a 

human  peculiar,  erratic  pitch,  because 

voice   is  carried   along  over  a  we  do  not  follow  the  thought — 

considerable  length  of  time  in  the  human  mind  can  follow  but 


1.  E  M  1'  II  A  S  I  S  II.  E  M  P  II  A  S  I  S  III.  EMPHASIS  IV.  E  :\I  P  II  A  S  I  S 
BY  POSITION  IX  P.  A  D  P  O  S  I-  BY  CHANGE  OF  BY  A  CONTRAST- 
IN  THE  BEST  PLACE.     TION  ON  THE  PAGE.      SHAPE      FROM      OB-  ING  SIZE  WELL  LO- 

LONG     TO     CIRCLE.  GATED      ON      PAGE. 


one  tone,  without  change  of  in- 
flection, or  change  of  pitch,  the 
result  is  monotonous,  and  one 
finds  that  his  interest  is  gone, 
not  only  in  listening  to  the 
sound  of  the  voice,  but  to  what 
it  has  to  say  as  well. 

On  the  other  hand,  erratic  gyra- 
tions from  one  pitch  to  another, 
repeated  over  and  over,  are  also 
distracting,  monotonous  and 
uninteresting,  and  I  particular- 
ly want  you  to  see  the  analogy 
because  this  so  clearly  applies 
to  our  advertising.  It  is  dis- 
tracting when  the  attention  fol- 


one  thing  at  a  time.  Again,  this 
same  principle  is  illustrated  in 
music,  in  an  orchestra,  or  per- 
haps in  a  German  band  which 
sometimes  plays  for  a  long  time 
almost  exactly  evenly,  in  an  up 
and  down,  wavelike  motion.  It 
begins  to  get  on  your  nerves. 
Then  the  trombone  belches 
forth,  and  that  is  a  relief,  ugly 
as  it  is;  but  the  continual  burst- 
ing forth  of  the  trombone  at 
regular  intervals,  would  make 
another  monotonous  succession 
of  sounds,  and  that  would  de- 
stroy the  appeal  of  the  music, 
were  there  any  appeal  there. 


57 


I  ^Q  [ 


linn  nn  f 


iiMMrii  r 


This  is  true  of  sound  stimulus  to  and  convincing  the  beholder  of 
the  ear.  The  ear  is  one  of  the  merit.  In  this  field  of  sight,  or 
five  senses  through  which  man     of  appeal  to  the  eye,  this  princi- 


impres- 
The 


gets 
sions. 
principle  of  or- 
der which 
gives  rest  from 

monotony, 
which  makes 
variety  in  the 
tone  which  the 
ear  catches,  is 
called  empha- 
sis or  stress. 
Emphasis  or 
stress  then  is  es- 
sential for  in- 
terest, or  pleas- 
ure, or  profit, 
through  the 
ear,  and  its 
force  is  lost 
when  emphasis 
is  overdone,  or 
the  thing  is 
emphasized  in 
so  many  ways 


And  they  are  all  here//come  and 
try  em  on^'/we'll  take  our  chances 
y/o\ir  mirrors  are  triple  plate. 

Derbies  and  soft  hats  with  the 
new  pencU  roll,  Sl,98  to  $5-00. 

Gloves,,  neckwqar,  special  vests,  fancy  bose^ 
in  the  new  Spring  styles. 

THE  WHEN 

See  Our  27  Windows. 


pie  is  a  useful 
factor.  Let  me 
illustrate  this 
with  the  side 
wall  of  a  room. 
You  know  how 
often  you  enter 
a  room  and  the 
wall  seems 
pleasing  to  you, 
with  the  excep- 
tion of  one  spot 
on  it.  You  at 
once  look  at 
that  spot,  and 
you  find  there, 
perhaps,  a 
rather  good 
picture  with  an 
overdone,  over- 
0  r  n  amented^ 
broad,     bright 


EMPHASIS    BY    posiTiOiX    OF    gilt  frame   and 

SPOTS      (HATS);     ILLUSTRATING     MOVE-      '^  '       , 

MENT    ALSO     (SPRING     STYLES).     YOU         Say        tnC 

frame  hits  you 

or  so  monotonously  emphasized  in  the  face,  or  jumps  off  the 

in  the  same  way  that  the  em-  wall.      It    can    never    take    its 

phasis    becomes     useless — dies  place  as  a  part  of  the  unit  which 

because  of  its  commonness.  the  wall  is  supposed  to  be.    The 

picture    itself    is    lost    and    all 

You  will  see  the  analogy  be-  around  it  is  spoiled.    That  also 

tween  what  I  am  saying  as  ap-  happens  in  the  human  figure; 

plied  to  the  ear,  and  the  stimu-  you  often  notice  good  relation- 

lus  applied  to  the  eye,  which  is  ship  in  the  clothing — with  one 

the  thing  that  the  acivertising  exception.       I     have     noticed 

man  has  to  deal  with,  the  eye  young  women  with  belt  buckles 

being  the  sense  appealed  to  in  who   looked   pretty  well   until 

attracting  attention,  holding  it  my  eye  reached  the  waist  line; 


amc 


58 


Dame 


DODIDlt: 


rmanic 


Dnmc 


DOB 


QdDt 


T^  w  r 


308  CDC 


}Bin[ 


§ 


then  I  thought 
they  must  have 
made  a  mistake 
and  gotten  hold 
of  a  dinner 
platter  or  a 
piece  of  armor, 
or  some  pecul- 
iar thing,  and 
used  it  for  a 
buckle,  thus  de- 
stroying the 
unity  of  the  fig- 
ure and  its  ef- 
fect. This  is 
because  it  hits 
too  strongly, 
emphasizes  too 
strongly  the 
very  place  you 
don't  want  to 
emphasize.  If 
the  belt  buckle 
could  be  neare 


Uhe\/ER1\CALY\}RRE1  |aTHE 


42-INCH  "MAXI-MILL"  TYPE 

Having  ooe  Swivel  Turret  Heid  and  uac  NoD-»w>veliQg  Side  Turret  Hciil 


Meeting,    more    aearly    Ihao   uny   other   tnachioe   toot 
offered,  the    dcaunds  ot  today  and  of  the  future  for 
Extreme  Power,  Great  Rigidity, 

Cootmued  Accuracy.  Conveoience  ot  Operuooa. 

Abtolute  Safety  ot  Operaior,        Freedom  Irom  Breakage, 
and  Mmimum  Cost  of  Maiateoaoce. 


Capacity 

TaMe 

Table  Speeds 
Feed  Changes 
Venical  Head 
Turret 
SiSe  HeaJ 

Steel  Gearing 
LubncatioD 
Safety  Devicef 
Weigbt 
Floor  Space 
Circular 


44  inchec  in  diameter;  211  mehas  in  hdgtit  under  Crota-rail:  43  incftea 

under  Turret  Face 
40^'t  irvchet  in  diameter 

Twelve  changet.  tinging  from  3  to  €0  R  P  M 
6  poiitive  >nd  independent  change*  (or  eacn  head. 
Vertical  movement  of  S7  inchei;  will  face  44  inches. 
1 6  inches  in  di&meier.  5  faces  hawing  2^a  inch  noies 
Vertical  movement   of  .18  inchei.  honiofiUl  movement  of  21  Inches 

Top  of  t^bie  to  un^er^ide  ot  Side  He&d  Shde  S5  mchee. 
Altoy  steel,  neat  treated  geara  throiighout  driving  and  teed  wain.. 
Constant,  sight-feed,  flow  to  all  parts 

All  geATS  encaaed.  Counter-weighU  enclosed  operator  sale  at  kli  timev 
16000  pounds,  net.     16450  pounds,  snipping  weigt^L 
65  inc&es  wide.  93  Inches  deep    I21V)  ■nches  higFv 
VT.I42 


The  BuUard  Machine  Tool  Co. 

Bridgeport,    Connecticut,    U.  S.  A. 


BAD  USE  OF  EMPHASIS  IN  LOCA- 
TION OF  TRADE-MARK,  KINDS  OF 
TYPE  IN  TITLE  AND  SPECIFICATION 
HEADINGS    IN    LOWER    HALF    OF    PAGE. 


the  face  was  a 
very  beautiful 
one,  it  would 
have  a  greater 
reason  for  be- 
ing there  than 
at  the  waist, 
but,  even  as  it 
is,  it  looks  bet- 
ter at  the  waist 
than  it  would 
down  near  the 
feet.  You  ex- 
pect the  appeal 
for  attention  to 
be  near  the  face 
of  the  individ- 
ual, that  being 
the  most  im- 
portant point. 


In  any  phase  of 
design  —  rugs, 
r  the  face,  and     carpets,  textiles,  interior  deco- 


■ 
■ 


THE  ORIGINAL  WORCESTERSHIRE 

JOHN  DUNCAN'S  SONS,  AGENTS.  N.Y. 


^i 


CAR  CARD  SHOWING  OVER-EMPHASIZED  SIZE  AND  BAD  POSITION  OF  ILLUSTRATION. 


59 


IBBI 


]iBa 


ration,  costuming  or  whatnot — •  viduals   are   ruined,   so   far   as 

it  is  necessary  to  avoid  the  per-  artistic  or  interesting  effect  is 

fectly  monotonous   use   of  any  concerned,  by  over-ornamenta- 

one  thing,  and  it  is  necessary  to  tion,  and  carpets,  rugs  and  all 


emphasize  cer- 
tain spots  in 
certain  ways  so 
that  the  eye 
goes  to  those 
places.  We  use 
that  method  in 
the  best  ar- 
ranged rooms, 
best  wall  cover- 
ings, textiles, 
and  rugs,  and 
in  a  very  deli- 
cate and  decent 
way  in  cos- 
tumes, by  in- 
troducing a  bit 
of  ribbon,  a 
small  jewel  in 
the  proper 
place,  a  bit  of 


VerticalTurret  Iathe 

42-INCH  "MAXI-MILL"  TYPE 

HavLos  ooc  Swivel  Turret  Head  ind  one  Noo-swiveling  Side  Turret  Head. 


Meeting,  mora  ocsriy  ibaa  M17  oibar  ouchloe  tool  offarvd.  tbm 
dcaund*  of  lodir  and  of  (he  future  tor  Extreme  Power, 
Great  Riffidity.  CoDlioued  Accuracy,  Cooveoieoce 
of  OperatioD,  Absolute  Safety  of  Operator,  Freedom 
from  Breakmge,  and  Minimum  Cost  of  Maimenaocc. 


SPECIFICATIONS 


Capacity 

♦4  inches  in  d>vn«t«r  52  inchu  in  h«i«tit 
tinder  Crot&-rAil.  43  inches  under  Turret 

Table 

40Vi  inches  in'diaipeter 

Table  Sp«eda 

Twelve    chunseft.  tAngtng   from  S  to  CO 

R.PM 

Feed  Cfaongea 

e  potiiive   ana   independent  ■change!   for 

each  head 

Venical  Head 

Vertical  movement  of  27  inchsa:  erllJ  faco 
44  inches 

Turret 

16  mchet  In  diameUr  6  taoija  having  SH 


Side  Head 

Vertical  movement  of  28  Inchei:  horlxon- 
Ul  movement  of  21  Inches,  Top  of  tabit 
to  underside  of  Side  Head  Slide  S6  inchee. 

Steel  Gearing 

Alloy  Eteel.  heat  treated,  gean  throughout 
driving  and  feed  Irala 

LubricatioD 

Constant,  sight-feed,  flow  to  all  parta. 

Safety  Devices 

A  1  gears  enoaaed,  Counter- weight)  endot*. 

cd,  operator  safe  at  JI  timen 

Weight 

J8000  pounds,  net.  1B460  pounds,  ship- 
ping weight 

Floor  Space 

es  inches  wide.  9S  Incbea  deep,    lam 

inches  high. 


Other  forms  of 
designs  are 
spoiled  by  that 
more  often 
than  by  any- 
thing else. 

Now,  we,  as  ad- 
vertising men, 
are  appealing 
to  the  intelli- 
gence of  the 
people  rather 
than  their  fan- 
cy, even  more 
than  are  the  in- 
terior decora- 
tors. We  bid 
for  the  best 
thought  of  the 
public,  the  best 

brighter  color,  same  text  rearraxged,  on  page  processes  of  the 
ji  fppfher  or  fl  5  9,  w  E  L  L  spaced,  well  b  a  l-  ry,]r.A  ^^  „., 
a  learner  or  a  ^xced,  well  emphasized  and  '^n  "^>  ^^  /i^ 
flower  placed  structurally  well  built,  other  applied 
at   some    point  Art  bids.    The 

where  the  eye  should  go.  advertising  man  asks  for  intelli- 
gent attention,  interest,  consid- 
Do  you  see  then  that  in  any  of  eration  and  decision.  These 
these  designs  it  is  possible  to  four  processes  of  the  mind  must 
carry  the  law  too  far  and  over-  be  employed  before  the  adver- 
emphasize  a  spot  so  that  there  tisement  has  produced  the  de- 
is  nothing  else  in  the  design?  sired  efifect.  We  must  first  see 
Interior  decoration  can  be  it.  We  must  next  become  inter- 
ruined  by  over-decoration,  by  ested  in  it.  We  must  next  con- 
accumulation,  by  ornamenta-  sider  it.  Then  we  must  decide 
tion  instead  of  decoration.  Peo-  for  or  against  its  appeal.  There 
pie's  clothes  and  people  as  indi-     are  four  distinct  mind  processes. 


The  BuUard  Machine  Tool  Co.,  BMg^rx>n.coai..v.s.A. 


■nc 


unnc 


DIDIIIC 


60 


lamt 


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Trail  nmr" 


DIBBIC 


IB 

i 


It  is  not  necessary  in  interior  emphatic,  or  stress,  idea  under- 

decoration  that  you  should  do  standingly   and   effectively,   or 

all  that,  it  is  not  necessary  in  things  will  become  a  disorgan- 

clothing,  unless  you  are  selling  ized  jumble.     When  they  are 
or     buying 


clothing,  it  is 
not  necessary 
in  carpet,  rug, 
textile  or  other 
design  that  all 
of  these  proc- 
esses should  be 
so  clearly  de- 
fined. There- 
fore, I  believe 
advertising,  as 
an  applied  Art, 
bids  to  a  great- 
er intelligence, 
or  broader 
form  of  intelli- 
gence, than  any 
of  the  other 
applied  arts, 
and  for  that 
reason   I    want 


that,  there  can 
be  no  appeal 
in  the  adver- 
tisement along 
the  four  essen- 
tial lines  men- 
tioned. Psy- 
chologically it 
will  be  impos- 
sible for  a  mass 
of  matter  unre- 
lated and  dis- 
organized to 
move  the  aver- 
a  g  e  intelli- 
gence in  those 
four  lines  of 
mental  process. 


BAD  EMPHASIS  BY  ORXAMENT,  IRREL- 
K\'AXT  IN  THOUGHT.  BAD  IX  SHAPE, 
UNRELATED  TO  BORDER  IN  KIXD.  BAD 
POSITION    OF    TITLE:    TOO    NEAR    TOP. 


Any  process  or 
any  law  which 
helps  to  organ- 

to  bring  every  principle  in  ar-     ize  matter  and  to  present  it  in 
rangement  know^n  in  the  world     such  a  way  to  the  public  that  it 
of  applied  art  to  bear  on  this     meets  the  essentials  of  mind  ac- 
most  important  thing.     I  intro-     tivity  is  a  law  or  process  that  is 
duce  the  principle  of  emphasis     going  to  be  helpful  in  the  ad- 
because  it  is  one  of  the  most  im-     vertising  field  when  it  is  under- 
portant  things   in   the  cultiva-     stood.    Good  advertising,  then, 
tion  of  a  taste  standard  and  is     must  reckon  with  the  matter  of 
essential   in   decent,   intelligent     emphasis.    We  are  wasting  en- 
advertising,  ergy,  because  we  kill  with  too 
Now,  as  to  advertising  pure     much   emphasis   more   quickly 
and  simple:    Since  we  must  in     and  more  definitely  than  with 
every   advertisement  get   these     too  little.     A  greatlv  disorgan- 
four  processes  of  mind  in  order     ized,    overdone    and   over-bur- 
to  be  effective,  we  must  use  this     densome  mass  is  more  hopeless 


QQQC 


^OODC 


1  OB  DSC 


)gis 
6i 


e 


e 


than  a  very  monotonous  little  of     phasis  is  really  necessary  to  call 
anything.     Nothing  can  be  so     out  a  thing  and  make  it  stand 


o  V  e  r- 
whelm- 
ingly 
bad  as 
too 
much 
of  any- 
th  i  ng 
that  is 
u  s  e  - 
less. 

The 
ways  in 
whi  c  h 
empha- 
sis is 
secured 
o  u  g  ht 
to  be 
clearly 
n  o  ted, 
and 
then 
we  will 
see 
how 


rBomseai 


THB     BVBTVINO     MAII. 


Ar«it.  •• 


rai  JOHN  vuujuia  HDU        ^a 


ra  mm  vahakaku  stou 


The  John  Wanamaker  Store—The  Store  With  Personality 


f^jVe^XltTiJft.^ 


Noihnt    UBr  Thtt  Tkn*    H  oil  FiBiiaiBcorNcckli  rind 
FrtocI)  Veil*  Blouui  -'V."-  ^  Vj:'..\~'  1  :r 


"E'erybwlT"  Ii  Going  Abroad— Am  Vou> 


Anv  Player-Piano  Can  Reel  Off  TUNES 
^  f he  EMERSON-ANGELUS.  The 
Wonderfully  -Toned  Emersoo  Piano, 
United  wttb  the  Matchless  Angetus 
Player,  RENDERS  MUSIC. 


j:  a>r- 


Thf  EMERSON-ANGELUS.  $750  aod  $600 
Emerson-Anitelus  Grands.       -        •      $1350 

€->rr    P>><"  !"•»  »•<  ••  frU-ia«  tb*  »ni»  ttft  ■•  OU  (v  ».  I   C    Cutrbatl 


*"'c   <:.»>»f.r;  »M^'.^w»  UU 


V.X"' 


CA.N0E5  tM  Tiikni  TtcUi  Om^ 


Ordff  Awnhigi  Now 


Hwrtk  ftit  Climatt 
for  Ymr  FwTW 


Roses  in  June  Means  Planting  NOW 

Hmf*  A'T  HtOvndftot^  A**J^«  AclviCy  Aaw«  ^  thm  Qrwmad 


c-njr — ;;  ~ '.'.'JTI 


JOHN     WANAMAKER 


apart. 
Then 
we  will 
also 
see  that 
e  m  - 
phasis, 
seven 
times 
out  of 
eight, 
em- 
pha- 
sizes 
t  h  e 
wrong 
thing, 
and 
also 
that  we 
waste 
our  ink 
by  us- 
i  n  g 
large 
type 
and 


things 
that 
really 


m  a  n  V  full     newspaper     page     showing     well     balanced  other 
t  i  m  e's  ^i-^^'^ssEs,    well    selected    sizes,    good    general    move- 
ment    EMPHASIS      BY     CIRCULAR     SHAPE;      WELL     PLACED 

we  are  and  sustained  and  with  page  structurally  good. 
'empha- 
sizing the  same  thing  when  should  be  used  only  as  emer- 
once  would  do;  how  many  gency  material.  The  oversized, 
times  we  are  playing  a  thing  up  full  intensity,  colored  page 
when  once  would  have  made  borders,  by  the  way,  illustrate 
it  sufficiently  important,  and  this  kind  of  waste, 
perhaps  too  important,  to  be  re- 
lated to  the  rest  of  the  adver-  To  begin  with,  emphasis  is  ob- 
tisement;   and  how  little  em-  tained  by  position.    Determine 


Qcnic 


62 


jumoc 


IIDDIIIIIC 


^DQIIDC 


lUBIlQC 


]  Q)Q]  [ 


linn  Q[ 


TIM  nnir 


DDDa 


what  you  consider  the  most  im- 
portant part  of  a  page,  the  most 
conspicuous  place  on  a  cover  or 
anything  you  are  going  to  use  as 
a  single  advertisement.  The 
very  fact  that  you  place  some- 
thing at  that  point  calls  public 
attention  to  it.  In  the  method 
of  placing,  alone,  there  is  an 
emphasis  gained  by  the  position 
a  thing  receives.  This  is  worth 
while  noting.  There  is  also  an- 
other phase  of  position,  namely, 
•the  position  of  the  thing  dealt 
with  as  compared  to  other  mat- 
ter on  the  page.  This  adjacent 
matter,  by  its  kind,  color,  move- 
ment or  shape,  may  direct  the 
eye  to  that  which  is  near  it 
rather  than  attract  it  to  itself. 

Thus  there  are  two  phases  of 
emphasis  by  position:  the  posi- 
tion of  any  object  in  the  adver- 
tisement has  an  emphasis,  and 
its  position  in  relation  with  sur- 
rounding or  adjacent  things 
also  has  a  possible  emphasis. 

iThe  second  way  in  which  things 
'may  be  emphasized  is  by  chang- 
ing their  shape.  When  an  ob- 
ject is  erratic  in  shape  it  ought 
to  be  kept  pretty  nearly  the 
same  color  as  its  surroundings, 
and  related  in  size  to  other 
things  with  which  it  is  associat- 
ed. It  does  not  need  to  have  the 
most  prominent  place  on  the 
page,  and  should  not  have  any 
of  the  other  forms  of  emphasis 


unless  you  want  a  remarkable 
stress  ^on  it.  It  would  not  hap- 
pen once  in  a  thousand  times 
that  you  would  want  an  erratic 
shape,  a  prominent  position  and 
a  strong  color  for  the  same 
thing.  If  you  have  only  one 
thing  to  say,  you  had  better  say 
it  distinctly  in  words  calling  at- 
tention to  it  by  one  emphasis 
form.  You  will  then  have  said 
it  strongly  enough  without  em- 
ploying emphasis  in  all  forms, 
and  thus  destroying  the  possi- 
bility of  emphasizing  anything 
else  in  the  same  advertisement. 
The  next  way  in  which  empha- 
sis may  be  secured  is  by  the  size 
of  a  mass — a  line  of  type  for  ex- 
ample— as  strongly  contrasted 
with  other  sizes.  The  size  of 
the  title  in  some  street-car  ad- 
vertisements is  ludicrous.  The 
name  of  the  thing  advertised 
could  be  made  out  at  almost  any 
distance  by  the  color  that  is 
used,  and  a  good  many  times  it 
is  emphasized  by  the  ornament 
repeating  the  title,  and  in  other 
ways,  so  that  it  is  not  necessary 
to  get  such  relatively  enormous 
changes  in  size.  If  the  shape  of 
a  thing  is  different  or  the  posi- 
tion prominent,  then  it  does  not 
have  to  be  the  size  of  my  head 
as  compared  to  my  finger  nail  to 
arrest  attention.  Less  emphasis 
and  more  interest  is  what  we 
need. 

The  next  general  phase  of  em- 


^Z 


DQDd 


IDBC 


IQIB 


phasis  is  color.  Take  borders, 
for  instance.  The  border  should 
not  be  used  to  call  attention 
by  its  color  contrast,  unless 
it  is  composed  of  pictures  of  the 
article  advertised.  If  I  were 
talking  about  acorns  as  food,  I 
might  have  a  border  of  highly 
conventional  acorns,  in  a  not  too 
strikingly  contrasting  color. 
Don't  use  a  strong  color  scheme 
on  a  band  border.  The  border 
is  not  the  thing  you  w^ant  to  sell 
the  public.  Use  contrasting 
color  on  the  object  you  want  to 
bring  out  strongest;  that  is 
never  the  border.  The  border 
should  harmonize  with  the  type 
or  the  page  itself  in  color. 
Generally  it  is  more  efifective 
when  it  harmonizes  with  the 
page  itself — the  stock — but 
when  possible,  harmonize  it 
with  type  matter  also.  These  er- 
ratic, color-emphasized  borders 
that  do  not  in  any  way  tie  up 
with  or  come  into  the  color  of 
the  paper  will  almost  always  be 
bad  because  they  take  you  away 
from  what  you  should  see,  just 
as  a  very  much  over-ornament- 
ed and  very  bright  picture 
frame  takes  you  away  from  the 
picture.  Even  a  mirror  frame 
takes  all  the  attention  away 
from  the  mirror  when  it  is  over- 
ornamented. 

The  next  method  of  securing 
emphasis     is     by     illustration; 


making  a  thing  stand  out  by  il- 
lustrating it  pictorially. 

We  have  now  considered  em- 
phasis by  position,  by  erratic 
shape,  by  difference  of  sizes,  by 
color  and  by  illustration,  all  of 
which  take  the  mind  from  the 
other  things  in  the  advertise- 
ment and  fix  it  on  some  particu- 
lar thing.  If  all  forms  of  em- 
phasis are  used  on  one  thing  of 
importance,  you  see  there  are 
none  left  to  use  on  the  second, 
third  or  fourth  points  you  wish 
to  lay  stress  on.  Therefore, 
eliminate,  just  as  far  as  possible, 
the  number  of  emphatic  things 
you  do,  and  try  to  find  out  the 
reason  why  a  thing  jumps  at 
you — hits  you  in  the  face — is 
too  strong.  Analyze  a  bit,  and 
see  in  how  many  ways  you  are 
helping  this  along. 

A  word  as  to  outdoor  advertis- 
ing. That  is  a  matter  quite  dif- 
ferent from  the  advertising 
which  comes  into  our  houses, 
particularly  in  matters  of  color. 
This  is  because  of  the  wealth  of 
color  in  the  environment  in  the 

* 

summer  and  in  certain  locali- 
ties, while  in  the  winter  and  in 
other  parts  of  the  country  there 
is  almost  none. 

In  advertising  at  different  sea- 
sons of  the  year  I  should  use 
different  colors.  The  more 
vivid  color  there  is  in  the  sur- 


BIDC 


64 


QDO( 


IHBOX 


T  mn  nn  r 


Duma 


Foundings,  the  more  the  adver- 
tisement should  be  subdued  in 
order  to  get  contrast,  and  the 
less  color  there  is  in  the  land- 
scape the  more  there  should  be 
in  the  advertisement.  I  should 
use  very  different  advertising 
colors  in  the  South  than  I 
would  in  New  England,  for  ex- 
ample, and  in  Alaska  than  in 


Massachusetts,  in  order  to  se- 
cure this  emphasis  of  contrast, 
which  is  so  essential. 

Bear  in  mind  that  a  failure 
to  consider  these  things  results 
in  intemperance  of  contrast, 
which  is  as  bad  as  the  overuse 
of  any  material  with  which  you 
work. 


I  UNDERSTAND  EDUCATION  TO  MEAN  THE  ADJUSTING 
OF  A  PERSON  TO  THE  CIRCUMSTANCES  IN  WHICH  HE 
LIVES.  A  MAN  BORN  IN  ABRAHAM  LINCOLN'S  TIME,  OR 
NEAR  THAT  TIME,  FACED  CERTAIN  PROBLEMS  DIF- 
FERENT FROM  THOSE  WHICH  YOU  ARE  FACING  TO- 
DAY. IF  HE  HAD  HAPPENED  TO  HAVE  BEEN  BORN 
IN  THE  TIME  OF  LOUIS  XIV,  THE  PROBLEM  WOULD 
HAVE  BEEN  STILL  DIFFERENT,  PARTICULARLY  IF  HE 
HAD  LIVED  AT  VERSAILLES.  TO  TRAIN  A  CHILD  AS 
HE  WOULD  HAVE  BEEN  TRAINED  AT  VERSAILLES 
IS  MISSING  THE  POINT,  ISN'T  IT?  TO  TRAIN  A 
CHILD  IN  JUST  THE  WAY  HE  WOULD  HAVE  BEEN 
TRAINED  IN  ABRAHAM  LINCOLN'S  TIME  IS  MISSING 
THE    POINT,    ISN'T    IT?       CONDITIONS    CHANGE.       F.   A.   P. 


§ 


e 


65 


^ 


THE  USE  AND  ABUSE 
OF  DECORATION 
AND    ORNAMENT 

CHAPTER  VI 


] 


IIDD! 


)  QOQ)  [ 


iPTn  typ  r" 


THE     USE    AND    ABUSE    OF 
DECORATION  AND    ORNAMENT 


CHAPTER  VI 


There  are 

two  kinds 
of  stimuli  to  the  sense  of 
sight,  so  far  as  attention  is  con- 
cerned. The 
first  kind  in- 
cludes the 
things  that  at- 
tract attention 
mechanically 
but  fail  to 
arouse  any  spe- 
cial interest  in 
the  observer. 
Such  things  as 
startling  color 
combinations 
and  one  com- 
p  1  e  m  e  n  tary 
color  displayed 
on  its  opposite 
belong  to  this 
class,  as  also 
does  a  mechan- 
ical contriv- 
ance for  shock- 
ing your  nerv- 
ous system  so  that  you  will  turn 
and  look,  but  which  lacks  any 
element  of  interest  because  of 
its  harshness,  crudeness  and  lack 
of  human  appeal.  Some  mo- 
tions that  are  used  in  advertis- 
ing are  merely  mechanical  at- 
tention-arresters. There  are  a 
good  many  examples  of  this  in 


I  L  L  U  S  T  R  A  T  I  \-  E  .MATTER  IR- 
RELEVANT, COMPLEX.  IN- 
ARTISTIC  AND    BADLY    ARRANGED. 


the  moving  advertisements  in 
our  streets.  They  mechanically 
call  attention,  but  there  is  no  in- 
terest in  them  as  objects  or  in 

their  relation 
to  any  thing 
else  of  an  inter- 
esting nature. 


Much  of  our 
illustrative  and 
decorative  mat- 
ter is  of  the 
same  character. 
Some  of  the 
decorative 
units,  o  r- 
naments,  bor- 
ders and  illus- 
trations that 
are  used  have 
no  value  so  far 
as  interesting 
people  is  con- 
cerned, and  are 
merely  used  to 
fill  up  space  or 
advertisement    look 


make    the 
"pretty." 


The  second  kind  of  attention- 
stimulus  is  that  which  makes  a 
direct  appeal  to  some  human 
instinct.  Because  of  this  innate, 
instinctive  response  the  object 
to  which  attention  is  called  is 


69 


interesting.     In  human  natuTe     make  you  see 
in  general  or  in  some  observers     shall  succeed 
in     particular, 
there   is   some- 
thing that    re- 
sponds   to    the 
appeal.  Let  me 
call     attention 
to  the  fact  that 
advertising     is 
making    many 
mistakes    right 
there.  The  dif- 
ference  be- 
tween    a    thing 
that   really   in- 
terests    people 
and  that  w^hich 

ornaments  or  illustrative  matter  well  chosen. 
decorates  1  well  placed,  well  handled,  in 
think     is    verv   "^^^^^     relevant,     effective,    ar- 

-;     TISTIC    AND    sensibly    PLANNED. 

great.       If      I 


that  difference,  I 
in  the  next  point 

I  want  to  bring 

to  you. 

Our   weakest 
points    in    this 
regard    are 
found  in  what 
you    term    ^'il- 
1  u  s  t  r  a  t  i  V  e 
stuff,"  and 
"de  CO  r  ative 
stuff."     I    un- 
derstand "illus- 
trative stuff"  to 
mean   those 
things  which 
you  think  illus- 
trate the  point 
you  are  trying 
to  bring  to  peo- 


B 


k- 


Snap,  sparkle,  vigor! 


Drink 


Delicious-Wholesome-Thirst-quenching 


5^'^everywhere 


I 


A    STREET    CAR    CARD    WITH    ••PRETTY"    ILLUSTRATIVE    MATTER 
BADLY     HANDLED     AND      I  N  C  O  N  S  I  S  T  E  N  T  L  Y      F  I  N  I  S  H  E  D .' 


pie.  An  illustrative  feature  is 
one  which  speaks 
the  thought  you 
wish  to  convey  in 
some  pictorial 
way,  so  that  what 
you  say  in  words  is 
said  pictorially  al- 
so. If  you  can  say 
in  words  what  you 
also  say  in  picture, 
you  illustrate  one 
psychological  law 
of  attention  and  of 
interest  by  repeat- 
ing your  thought 
in  two  ways. 
Now,  that  which 
is  brought  to  any- 
body once  may  be 
incomplete,  unless   illustrations     well 


Welsh  Rarebit 


2  lbs.  American  cheese 
I  tnipoon^l  ot  butter 
.1  teispoonful  of  English  muitard 
1  tablcipoonl^l  of  Worccitenhire  lauce 
A  few  drop)  of  Tobasco  sauce 
The  yolk  of  one  egg       ^i  glajj  ofale 

Turn  the  current  on  to  full  heat  in  the 
electric  chafing  dish.  Have  the  water 
boiling  in  the  lower  part,  then  put  the 
butter  in  the  blazer,  and  when  melted 
add  the  cheese  and  sdr  until  the  cheese 
begins  to  melt.  Add  the  mustard, 
Tobasco  and  Worcestershire  sauces, 
and  stir  in  the  ale.  Keep  on  stirring 
until  the  mixture  is  perfectly  smooth, 
and  then  add  the  yolk  of  the  egg,  well 
beaten.  Serve  on  nicely  browned  slices 
of  toast,  or  on  toasted  crackers.. 

CoK  orcurrcni  U  t^4  cem% 

far  making  a  rarebit  of  ihlj  soe , 


the  person  catches    tained    by    borders,    and 
^,      f,  ,  ^       .   ,       ^^•ELL    related     in     impor- 

the  thought  quick-   tance 


TO       TYPE       MATTER 

1  y.       But      the 

thought  repeated  in  some  other     not  an  interest-promoter,  so  far 


than  valueless,  for  they  distract. 
Let  me  illustrate 
that.  If  I  am  ad- 
vertising baking 
powder,  and  use 
the  words  "Baking 
Powder"  with  an 
illustration  of  a 
can  containing  it, 
or  of  bread  or  cake 
which  was  raised 
with  it,  or  a  slice 
of  bread  which 
shows  the  quality 
my  baking  powder 
will  give  it,  I  am 
using  relevant  il- 
lustrative matter. 
But  illustrative 
matter  which  does 
not  relate  in  any 
sense  to  the 
thought  I  want 
most  to  express  is 


sus- 


way  is 
likely  to 
make  an- 
other and 
a  deeper 
i  m  pres- 
sion. 

Illustra- 
t  i  o  n  s 
w  h  i  c  h 
amuse 
but  do 
not  hit 
the  point 


PDBLic  SCHOOL  30  mmw 

ISSUED  TO 

FOR  PERFECT  ATTENDANCE 
DURING  THE  TERM  ENDING 

L9L 


well-chosen  ILL  U  STRATI  O  X  S,  WELL  HAN- 
DLED, WELL  PLACED,  WELL  SPACED  AND  RE- 
LATING    TO    THE    SUBJECT    PROPOSED. 


as  the 
thing  I 
am  try- 
ing to  sell 
is  con- 
ce  r  ned, 
and  three- 
fourths  of 
the  ad- 
vertising 
we  see 
has  pic- 
torial or 
orna- 
mental 


of  the  advertisement  are  worse     features  which  in  no  way  illus- 


7i 


Bmr 


inn  IDC 


trate  the  subject  of 
the  advertisement. 
I  counted  on  one 
side  of  a  street  car 
to-night  seven 
cards,  in  not  one  of 
which  the  illus- 
trative matter  re- 
ferred directly  to 
what  was  said  in 
words,  or,  in  my 
opinion,  added  in  jj 
the  least  to  the  val- 
ue of  the  advertise- 
ments. Catering 
continually  to  this 
picture  book,  kin- 
dergarten age  is 
giving  the  public 
less  credit  for  sense 
than  is  its  due. 


Decorative  matter 
is  a  much  greater 
problem  than  il- 
lustration. Decora- 
tive matter  means 

bo  rd  e  rs,  

ornaments 
thrown  in 
for  the 
sake  of 
space  fill- 
ing; bits 
of  trash 
where,  if 
the  line  is 
not  filled, 
we  put  in 
some 
three- 


i! 


What 

New  York  State 

Thinks 


0(  The 
Applied  Arts  Drawing  Books 


:9 


t: 


leaved  clovers  or 
jj  gothic  windows  or 
jj  medallions  cop- 
ied from  a  French 
period,  or  any- 
thing else  that 
happens  to  turn 
up — generally,  the 
more  inappropri- 
ate the  better.  All 
that  stufif  in  the 
vernacular  is 
termed  "decora- 
tive material." 

T  want  at  this 
point  to  call  atten- 
tion to  the  differ- 
ence between  deco- 
rative  material 
and  ornamental 
material.  There  is 
a  clear  line  drawn 
in  interior  decora- 
tion,    in     carpets, 


:: 


e: 

■  • 

i: 


i:ui 


TWO  TYPES  OF  DECORATIVE 
MATTER,  BAD  IN  COMBIXATION, 
UNRELATED  IN  MOTIVE,  BAD 
IN    AMOUNT.       CENTERPIECE  . 

TOO  LARGE.  TOO  HEAVY  AND  tCXtllCS,  rUgS,  COS- 
TOG  LOW  IN  PLACEMENT,  (umcs,  stagc  Set- 
tings and 
other 
phases  of 
design  be- 
tween the 
term  deco- 
ration and 
the  term 
ornamen- 
t  a  t  i  o  n. 
When  we 
all  see 
that  dif- 
ference    I 


COLUMBIA  AND 

HARTFORD  BICYCLES 

POPE  MANUFACTURING  CO. 

HARTFORD,   CONNECTICUT,    U.   S.   A. 


A  BADLY  MIXED  AND  INAPPROPRIATE 
HISTORIC  HEADPIECE,  DISTRACTING  IN 
APPEARANCE,    ASSOCIATION    AND     SUBJECT. 


anc 


DOIDC 


IHBI 


)IDB 


72 


mac 


T  pm  Bn  r" 


3IQ  QQ£ 


}nnt 


believe  it  will  help  us  a  little  bit 
to  agree  on  the  common  sense  of 
this  thing.  Decoration  is  the 
application  of  ornament  where 
required  for  the  purposes  of  use 
and  beauty.  That  is  the  stand- 
ard idea  of  decoration.  Classic 
mouldings  following  the  edge 
or  line  of  structure  in  a  mantel- 
piece decorate  it.  Bunches  of 
flowers,  fruit  or  acanthus  leaves 
stuck  in  the  centre  of  the  frieze 
and  not  belonging  to  its  edge, 
ornament  it. 

If  a  chair  back  is  nearly 
straight  across  the  top,  any- 
thing put  on  it,  such  as  lovers' 
knots,  bits  of  ribbon,  or  bunches 
of  fruit,  is  ornament.  You 
have  seen  chairs  that  would  be 
much  better  looking  if  you 
could  take  a  hammer  and  knock 
all  that  stufif  off.  Such  things 
exist  alone  for  show.  We  are 
living  in  this  country  and  now; 
not  in  the  period  of  Louis  XV, 
in  France.  They  did  things 
like  that  in  that  period;  they 
did  some  other  things  then  that 
you  don't  recognize  now  as 
good  form  or  practical  ethics. 
We  have  simply  to  follow  the 
dictates  of  good  taste  and  not 
the  man  who  calls  himself  a 
classic  copyist  and  who  thinks 
he  can't  break  with  a  tradition 
because  things  were  done  that 
wav  in  the  days  of  Joan  of  Arc 
and,  therefore,  mustn't  be 
changed.    It  is  a  matter  of  mak- 


ing these  distinctions  clear  and 
eliminating  the  unnecessary 
frills  of  a  period,  if  you  are  go- 
ing to  use  the  period.  Elimi- 
nating the  ornament  from  the 
back  of  the  chair  is  the  idea  in 
this  country  now;  all  persons  of 
good  taste  recognize  that,  and 
people  who  are  having  furni- 
ture made  in  distinct  copy 
are  omitting  those  ornamental 
pieces  where  they  bear  no  rela- 
tion to  the  structure  of  the  thing 
itself.  This  is  a  sign  of  a  rais- 
ing standard  in  taste. 

In  advertising  we  shall  get  just 
such  a  standard  of  good  taste 
when  you  get  the  right  point  of 
view  as  to  the  difference  beween 
the  two  things  I  have  spoken  of. 
Decoration  is  the  application  of 
ornament  for  the  purposes  of 
use  and  beauty,  and  not  merely 
for  the  purpose  of  filling  up 
space,  or  of  showing  off  the  or- 
nament. In  all  the  arts  except 
advertising  decoration  is  the 
employment  of  ornament  for 
utility.  In  advertising  it  is  the 
use  of  ornament  for  the  sake  of 
ornament  or  because  you  don't 
know  what  to  do  next.  I  find 
that  when  I  ask  the  reason  for 
the  use  of  various  ornamental 
stuff  the  answer  is,  "That  is  the 
way  to  do  it,"  or,  "We  took 
those  things  out  of  a  good 
book."  Now,  if  we  can  agree 
that  advertising  must  conform 
in  its  laws  of  general  arrange- 


§ 


73 


)  BDBD  ( 


]QQ  BQ  [ 


jnj  June 


3JfflIflIIC 


ment  and  order  to  other  phases 
of  life-expression,  you  must  ad- 
mit that  ornamentation  and 
decoration  in  advertising  must 
conform  to  the  same  rules 
which  apply  in  all  other  lines 
of  work.  Whenever  the  orna- 
mental matter  follows  the  struc- 
ture of  the  page,  or  follows  the 
lines  of  the  set-up,  or  the  shapes 
which  have  been  created  in  the 
set-up,  then  it  may  be  classed  as 
decorative.  Whenever  the  or- 
namental matter  does  not  fol- 
low the  structure  of  the  entire 
page,  or  the  masses  or  general 
arrangement  of  the  text,  it  is 
simply  thrown  at  the  advertise- 
ment, or  stuck  on  it,  because  it 
is  added  for  show,  or  to  fill 
space,  or  still  worse,  to  make  it 
seem  "pretty." 

Again,  there  is  still  another 
classification  of  this  illustrative 
or  decorative  matter  of  which  I 
speak.  It  is  important  that  we 
realize  that  between  historic  or- 
namental matter  and  what  is 
termed  original  ornamental 
matter  there  is  a  vast  difference 
in  meaning  and  use. 

If  you  copy  historic  ornament 
you  are  going  against  the  spirit 
of  good  advertising,  unless  you 
are  advertising  historic  mate- 
rial. You  insist  that  every  ad- 
vertisement shall  be  unique, 
new,  creative,  a  step  ahead  of 
the  last;  that  there  shall  be  no 


copying  of  illustrations  or 
make-up — yet  you  still  adhere 
to  the  old,  historic  ornaments  to 
decorate  a  new  thing.  It  is  not 
in  the  line  of  progress  or  in  ac- 
cord with  the  other  things  that 
you  do.  To  copy  historic  orna- 
ment is  as  much  out  of  place  as 
to  copy  historic  clothes,  the  his- 
toric way  of  eating,  the  historic 
way  of  walking,  or  to  use  any 
other  ancient  and  obsolete 
method  or  material. 

This  matter  of  discouraging  the 
traditional  copying  of  historic 
stuff  I  am  most  anxious  to  get 
at.  Let  us  consider  historic  or- 
nament by  itself.  You  use 
mainly  Renaissance  and  Gothic 
motifs.  The  Renaissance  is  a 
revival  of  what  the  Romans  and 
the  Greeks  did  from  about  500 
or  600  B.  C.  to  300  A.  D.  At 
about  1200  A.  D.  people  re- 
vived— after  a  thousand  years 
of  disuse — what  the  Romans 
used  as  ornament,  and  added 
their  personal,  natural  motifs  to 
it.  This  was  about  the  same 
time  they  revived  the  language 
of  the  Romans  and  the  Roman 
plays  and  other  things  that  ex- 
pressed the  lives  of  the  Romans 
immediately  after  the  dawn  of 
the  Christian  era,  so  that  the 
bits  of  ornament  that  are  placed 
about,  such  as  the  acanthus  in 
its  modifications,  the  Roman 
scroll  in  its  ten  thousand  ways, 
the  egg  and  dart  and  the  many 


BODC 


^Qgg^ 


DBDMC 


DUDDDC 


^QQQ])^ 


74 


others  that  I  could  mention,  are 
simply  the  expression  of  the 
B.  C.  period  or  immediately 
afterward,  taken  up  and  made 
to  express  modern  conditions.  I 
say  there  is  no  more  reason  why 
they  should  be  put  down  on  pa- 
per now  than  there  is  that  you 
should  copy  any  other  phase  of 
expression  of  the  B.  C.  era. 

Blind  worship  of  the  classic  or 
fear  to  create  is  the  reason  for 
this  condition.  Why  should  you 
stand  for  that  indiscriminate 
copy  simply  because  tradition 
has  brought  down  ornament 
with  a  kind  of  mystic  haze 
surrounding  it? 

In  addition  to  the  Renais- 
sance heritage  we  have  the 
French  rococo  motifs,  and  they 
are  the  most  amusing  to  me  of 
all.  Every  known  thing  is  ad- 
vertised by  French  Renaissance 
motifs:  bicycles,  automobiles, 
prints,  type,  Oxford  Bibles  and 
machinery.  Is  this  either  beau- 
tiful or  consistent  advertising? 
The  Renaissance  is  the  reaction 
against  the  mediaeval  expres- 
sion of  Christianity.  It  is  the 
return  to  material  naturalism. 
There  would  have  been  no 
Renaissance  and  no  Renais- 
sance ornament  if  there  had 
been  no  Gothic  period,  in 
which  the  church  symbolically 
controlled  every  particle  of  or- 
nament.    It  made  the  Renais- 


sance possible.  It  was  a  rebel- 
lion against  the  control  of  the 
church,  and  France  rebelled 
more  strongly  than  any  other 
country.  France  more  than  any 
other  country  expressed  its  own 
Renaissance  because  it  was  try- 
ing harder  to  get  into  the  realm 
of  material  and  sensual  natural- 
istic ornament. 

Every  period  of  ornament  is 
distinctly  and  absolutely  the  ex- 
pression of  that  period.  The 
Italian  Renaissance  can't  ex- 
press the  French.  Francis  I 
can't  be  expressed  with  Louis 
XV.  Louis  XV  can't  be  ex- 
pressed with  Louis  XIV.  You 
can't  compare  Oliver  Crom- 
well with  Marie  Antoinette, 
and  they  were  the  dominating 
figures  in  their  periods  in  their 
own  countries.  You  can't  ex- 
press Dutch  life  with  an  Eng- 
lish picture.  You  can't  express 
your  English  stories  in  German 
script  letters.  You  would  not 
express  a  Spanish  title  with 
old  English  letters.  You  would 
not  think  of  using  alphabets 
which  are  strictly  historic  to  ex- 
press any  but  strictly  historic 
things.  Why  use  ornamental 
material  which  is  still  more 
strictly  periodic  in  significance? 
All  this  should  apply  to  our 
work.  We  should  use  orna- 
ment with  as  much  intelligence 
and  discrimination  as  the  other 
materials  with  which  we  deal. 


75 


1 


t 


^ 


THK  USE  AND  ABUSE 
OF  DECORATION 
AND    ORNAMENT 

CHAPTER  Vn 


\ 


i 

4 


jciDc: 


iconic 


=)IBBBC 


3009 


THE     USE    AND    ABUSE    OF 
DECORATION  AND   ORNAMENT 


CHAPTER   VIL 

The  next  special  type 
of  ornament  is  the  orig- 
inal type,  so  called. 
Line  borders  of  our  de- 
sign are  original  bor- 
ders. So  long  as  we 
use  straight  or  curved 
lines,  vertical  and 
horizontal  in  abstract 
combinations,  they  are 
not  historical  nor  sym- 
bolic. If  we  use  such 
lines  we  are  within  the 
province     of     consist-  i-    very   conven 


The  treatment  of  con- 
ventional roses  in  a 
stripe  of  wall  paper  is 
original.  They  are 
conventionalized  roses. 

There  might  be  a  con- 
conventionalized  rose 
border  by  some  man 
who  knew  how  to  do  it 
and  it  might  be  good. 

It  could  properly  be 
called  original  because 
nobody  ever  saw  a  rose 
of    that    kind.     If    it 


ency.      Curved      lines  "f c'o  rTt  i  o^'n  ^^^^  ^^e  acanthus  in- 

may    also    be    used    to  evolved  and  stead  of  the  rose,  that 

form   material   strictly  frqm^  ^  ?lSwe£  would  be  copying  and 
original.    By  origi 


nal  borders  is  meant 
borders  which  do 
not  repeat  any  fea- 
ture or  shape  which 
is  symbolic  in  its 
meaning  or  which 
is  historic  in  its  sig- 
nificance. The  bor- 
der which  takes  the 
acanthus  leaf  and 
changes  it  a  bit  but 
still  makes  it  look 
acanthus  can  never 
be   original.      It   is 


nl 


I 


I" 


maltreating  an  his- 
toric thing.  It  is  the 
same  thing  as  if 
you  took  an  historic 
thing  and  turned 
up  one  corner  and 
said  it  was  a  pure- 
ly original  thing,  or 
if  you  took  an  old 
English  letter  and 
filled  it  out  with  a 
new  twist  and  said 
it  was  an  original 
letter.  It  would  not 
be  original,  it  would 


II.  ABSTRACT  BORDERS 
GOOD  IN  PROPORTION, 
EFFECTIVE    IN    RELA.- 

still  a  "historic  bor-     ^ion,  suggestive,  orig-    simply  look  as  if  it 

^111..    «.    iii^i.KjM.  i'^    uxji  IXAL     AND     IN     NO     WAY  ^    - 

der.  SYMBOLIC   or   historic,    had  been  hit  by  a 


H 


3I3BB 


79 


I  mm 


club    or    otherwise 


There  is  a  re- 
bellion going 
on  all  over  this 
country  against 
copying  any 
style  of  any  pe- 
riod to  repre- 
sent anything 
in  American 
life.  There  is  a 
rebellion  going 
on  against  giv- 
ing the  impres- 
sion or  expres- 
sion of  our  mod- 
ern times  in  a 
copy  of  Louis 
Anybody,  or 
English,  or  Ger- 
m  a  n,  or  a  n  y- 
thing  foreign. 
There  is  the 
same  feeling  in 
Germany  and 
Austria,  in 
England  and 
in  France,  and 
they  call  it  the 
New  Art.  So 
that  the  New 
Art  in  Eng- 
1  a  n  d,  or  in 
Germany,  or 
France,  or  in 
this  country,  is 
nothing  in  the 
world  but  try- 
ing to  give  up 


deformed,     that  has  been  going  on  for  so 

lonff.  We  have 


pi  ml  p7 


ITT.  CONVENTIONAL  BORDER  TREAT- 
MENT FROM  NATURE,  NEITHER 
HISTORIC     NOR     SYMBOLIC. 


uuu 


IV.  CONVENTIONAL  TREATMENT 
OF  DECORATION  UNITS  FROM 
NATURE,    IN    STRAIGHT    LINES. 


copying,    the 


the  traditional     tion.     That   is 
historic    "grab"     Art  expression. 


to- 
grown    so    fast 

that  expression 
in  our  lives  is 
mostly  com- 
mercial, and  is 
chiefly  shown 
in  buildings,  in 
the  develop- 
ment of  elec- 
t  r  i  c  i  ty  and 
steam,  in  archi- 
tecture, in  the 
telephone  and 
the  telegraph, 
in  matters  of 
transportation, 
in  afifairs  of  the 
home,  and  all 
these  necessary 
things.  In  the 
expression  of 
finer  things  we 
are  behind 
many  other 
countries. 

In  Germany 
and  Austria, 
there  is  a  dis- 
tinctly new  sys- 
tem of  orna- 
ment— you  call 
it  the"  "block 
system"  I  think, 
— consisting  of 
square  and 
block  construc- 
Austrian  New 


BUBc 
80 


iPuimiT  r 


IDS^C 


IBBIEK 


BDBt 


DDBC: 


ima 


An  oblong  and 
two  squares, 
for  instance,  is 
given,  and  they 
say  to  pupils 
"Construct  out 
of  these  a  bor- 
der for  a  page 
twelve  by  sev- 
en," or  "Con- 
struct a  border 
for  a  mantel- 
piece"  or, 
"Make  a  sten- 
cil to  go  along 
a  staircase," 
etc.  Austria 
makes  from 
such  things 
everything 
from  advertis- 
ing borders  to 
woven  materi- 
als, stamped 
materials,  tex- 
tiles, rugs,  and 
the  like. 

In  Germany 
they  have  more 
liberty  of  line 
and  shape,  and 
take  vertical 
and  horizontal 
lines,  and 
sometimes  in- 
clined lines, 
but  they  are 
not  confined  to 
straight  lines. 
Sometimes    the 


Hivf  thf  vitcT  Koiling  II 


r  lo^ 


o  full  hnl, 


rhr  lo*r> 
A         Put 


gently  unul  the  tniittr  k  ill  mflicd  ind 

■Kcrri  kiih  thr  crnm  and  ihr  yolki  d( 
ihr  «ggi.  poui  ovf  thr  loSitrr  in  ihr 
cKtfing  diih  tnd  illov  iKc  ingrcditnti  lo 
tomi  lo  th'  boiling  point-  I'ou'  ihr 
glui  ol  Siutrni'  nirt  thr  «h<>lr  inj 
toTf  t+Y  boT  IJewoP  with  mI'  »na 
papnkA 


Chicken  wiih   Moihrc 


I'^c  f  hafiftg  diiK,  having  the  ■■ 
in    Ihf    loot!    pan        Put    Ihr 

flouF  in  ihf  bliitrindwheni 
.horoughl. 


<d  when  mtUid  and 
.     Jd  (hr  milk  and  iht 
bti(  cafefully   and  cook  until 
nd   ihKk.   add   Ihc   (bickcn. 


•imtntt  for  about  tmrclve  |n 
iiid  papnki  and  lervi  on  v 
d'  lOijt        Green   peppci 


Wi^' 


y.  DOUBLE  PAGE  OF  BOOKLET  WITH 
WELL  SUSTAINED  BORDER  SPACING, 
WELL  HANDLED  ILLUSTRATIVE  MATTER 
AND  (CONSIDERING  KIND)  WELL  PLACED. 


■    1 

UMftllfor 
HrawKctnctil 
Boohlcts        , 
Programimaj 
andtbt 
(Oh    . 


SUOOESTION 

FOR        ) 
BOOXLBT   ,  J 

covKa    'I 


VI.  CONYEXTTOXAL  NATURAL  BORDER 
APPLIED.  RATHER  GOOD  IX  ITSELF  BUT 
OVERPOWERING  TYPE  FLATTER.  NOTE  DIS- 
TRACTING EFFECT  OF  THE  ORXAMENT  IN 
CENTER,    AND    INCORRECT    PROPORTIONS. 


lines  are  lim- 
ited in  length. 
Thus  they 
build  original, 
picturesque  or- 
nament —  ab- 
stract  or- 
nament. 

Then  there  is 
conventional- 
ized ornament, 
which  is  an- 
other way  to 
get  something 
decorative 
when  the 
straight  line  or 
abstract  border 
seems  too  hard 
or  not  decora- 
tive enough.  A 
still  different 
way  to  get  at 
the  original 
border  is  by 
producing 
something  new 
and  unrecog- 
nizable as  ever 
having  ap- 
peared in  any 
bit  of  historic 
ornament.  This 
is  also  done  by 
adapting  a  nat- 
u  r  a  1  thing 
through  sim- 
plifying it. 

We  have  to 
choose  between 


e 
e 


IB 


8i 


the  absolutely 
new  and  orig- 
inal and  the 
copy  of  the  old. 
We  will  have 
to  know  how  to 
get  away  from 
the  latter  and 
into  the  former 
before  we  get 
anything  like 
what  we  are  af- 
ter, and  just  as 
soon  as  we  do 
that  we  are 
making  a  tre- 
mendous stride 
toward  the  sec- 
ond class  of 
stimuli,  "Inter- 
est stimuli." 
The  public  is 
keenest  now  on 
this  original 
ornament  in 
decorative 
questions  ; 
they  have  no 
use  for  the  oth- 
er. The  right 
move,  even  so 
I  far  as  money  is 
concerned,  is 
toward  the 
original.  The 
country  is  alive 
to  the  fact  that 
the  original 
motive  is  the 
expression  of 
the  present 
time,  and  is  in 


EIQIE 


3BE 


SHE 


3DE 


3QE 


TO  USERS  OF  PRINTING 

Wouldn't  11  be  a  relief —  a  big  relief,  if  you  could  say  to 
your  printer,  "1  need  a  catalogue — a  circular  —  some  lettcr- 
>>cad£,"  and  have  him  say.  "  I'll  gel  you  up  something,"  and 
'hen  be  able  lo  forget  the  entire  matter  ui  the  confideocc 
that  his  suggestion  will  be  a  good  one. 

The  printer  comes  to  you  with  a  proposition  that  pL«e*, 
that  has  strong  advertising  value  in  the  suggested  co">.  the 
proposed  typography,  the  coloi  arrangemeni  —  the  general 
layout 

What  a  satisfaction,  (hen.  to  have  an  assured  confidence  that 
the  finished  product  will  be  all  rig/j 

The  printer  who  can  do  that  for  you  must  offer  tpctfta 
let^-ue.  That  is  what  we  are  giving  lo  our  customers  — 
what  wc  offer  and  are  ready  to  give  to  y»u- 

Are  you  ready  for  u± ' 


The  SOUTHGATE    PRESS 


BOSTON.    V    i.  A. 


3BE 


ElBG 


THE       K 
N  T  A  T  I  O  N 


101^ 
I  N 


30t= 


Eitri- 


DBE 


ElU 


D       O 
NOT 


O  R  N  A- 
O      USE. 


The  1910  Murphy  Line 


VVTILL  itill  lead  then  aS.     The  dutioctive  featum  wdicb 
W     lure  dutanced  aO  rirali  aod  made  the  Mufphy  wtahbib' 
me^  the  fteatesi  of  the  kad  will  be  more  muied  thu  era  m 
OUT  new  product 

Never  before  bare  we  ibowa  picturu  ao  ftttnc^  nJ 
coady.  Tbe  beat  in  America  and  Europe  bai  bees  dravro  rpem 
\rf  our  boyef^  wfu>  peraooally  rail  the  arbsU  aad  gaOaieb 
Moran,  ibc  Amenua  Turner,  ii  reptcaented  by  two  great  can* 
Tuea— GDC  •  acae  Bear  kii  U>Qg  lilaod  borne  and  the  otha  neb 
with  the  glorioua  coloring  of  the  Craod  CaaoiL ,  Oilbau*  bu 
painted  anotber  great  itory-tdling  bunting  picture.  McCord  bat 
givai  ut  a.  briOiant  acetie  o(  Venice.  DcTbulstiup  is  repraested 
by  a  great  American  bistorical  picture.  Among  European  artiat^ 
Rondel  ba*  ruipaMed  bimietf  ia  a  gloitous  ideal  bead.  Tba 
tweeteit  thing  tb*t  Albeit  Lynch  ever  painted  ia  tbe  bead  iQu»> 
trabng  tbe  covef  <i  this  booklet  No  more  ddightfu]  child  study 
was  ever  painted  by  Ardun  J.  Elsley  tbao  'Hide  and  SocL' 
Nor  should  we  (otget  J.  Rou  Brysoo.  wbo  paints  (ot  us  alocMb 
Tbcre  are  pictures  from  ^  National  Academy  of  New  Yoi^ 
tbe  Royal  Academy  of  Loodoo,  the  Paris  Salqn  and  naoy  othef 
important  fihibiti^MU.  But  why  parbculaitie^  h  would  taka 
many  pages  to  property  raentioo  die  &hy  eminent  ajtiitB  and 
nearly  otK  hundred  grpat  painting*,  and,  aha  all.  this  would  do* 
take  the  place  of  sec^  the  bne.  Thai  U  the  IMPORTANT 
THING,  and  it  is  as  much  to  YOUR  interest  u  to  oun  thai 
vou  do  not  Older  until  tfae  MURPHY  UNE  anivei. 

And  it  is  COMING  is  ploity  6k  time  for  yon  to  oids 
dm^cR  if  iwl  aati^ed.     Bo^pluigbdate  yoa«ab^ 


mim 


VIII.  SHOWING  CONVENTIONAL 
FLOWERBORDER  WELL  PLACED 
AND     A\'ELL     USED     WITH     TYPE. 


the  line  of  de- 
velopment in 
other  fields,  as 
I  have  said  be- 
fore. 

As  to  the  types 
of  original  or- 
nament I  want 
to  have  you 
feel  that  there 
are  some  dis- 
tinct types  of 
these  in  this 
country,  in  our 
own  art,  which 
we  ought  to  un- 
derstand. First 
we  ought  to  get 
forourborders, 
and  for  our 
head  and  tail 
pieces  things 
which  are  built 
perfectly,  on 
straight  lines, 
so  that  they 
may  be  in  ac- 
cord with  the 
general  shape 
and  form  of 
our  material.  T 
have  today 
been  squaring 
off  with  lines  a 
lot  of  street  car 
ads  to  see  what 
shapes  they 
would  make 
when  outlined, 
and  how  they 
would   arrange 


CSIIB3I 


IBUtll)  t 


•^  [ri]i  an  f 


DOS  IMC 


themselves  on  pages.  Every  bit 
of  ornament  that  you  put  in 
creates  a  new  shape  in  the  back- 
ground— sometimes  a  circle, 
sometimes  a  triangle,  an  ellipse, 
or  an  erratic  shape.  If  such  a 
thino;  has  sufficient  excuse  for 
existing  and  you  must  have  it, 


him  to.  He  can  become  so  in- 
terested in  the  foreign  thing 
that  he  will  forget  the  main 
thing.  A  piece  of  ornament 
can  destroy,  and  a  great  many 
times  does  destroy,  not  only  the 
beauty  but  the  efficiency  of  your 
advertisement.    You  see  the  or- 


QDAINT  OLD  NEW  YOBL 


ERE  is  the  oldest  section  of 
New  York.  The  pillared  front 
of  the  Sub-Treasury  building, 
with  its  massive  columns,  may 
be  seen  at  the  end  of  the  street,  and  the 
classic  facade  of  the  Stock  Exchange  at 
the  center,  nearby.  This  present-day 
scene  is  in  striking  contrast  to  that  familiar 
10  Peter  Stuyvesant. 

St.  Paul's  Church,  the  oldest  church 
in  New  York,  was  attended  by  George 
Washington  following  the  ceremony. 
Now  It  IS  over-shadowed  by  the  Singer 
building. 

A  bridge  was  erected  across  Broad- 
way at  Fulton  Street  to  relieve  the  con- 
gested traffic  at  that  point  Later  it 
was  removed  on  complajnt  of  a  business 
man. 


L 


9A.      TYPE    ARRANGEMENT    WITH 
GOOD   INITIAL    AND    ORNAMENT 
BUT    SHOWING    HOW    THEY    DE- 
TRACT    FROM     THE     TYPE     MAT- 
TER AND    OCCUPY    GOOD    SPACE. 


Quaint  Old  New  York 

St.  Paul's  Church,  the  oldest  church 
building  in  New  York,  was  attended  by 
George  Washington  following  the  cere- 
mtmy  on  Inauguration  Day.  Now  It  Is 
overshadowed  by  one  of  the  most 
nwdern  structures,  the  Singer  building. 

A  bridge  was  erected  across  Broadway 
at  Fulton  Street  to  relieve  the  congested 
traffic  at  that  point.  Later  it  was  re- 
moved on  complaint  of  a  business  man. 

Here  is  the  oldest  section  of  New  York. 
The  pillared  front  of  the  Sub-Treasury 
building,  with  its  massive  columns,  may 
be  seen  at  the  end  of  the  street,  and 
the  classic  facade  of  the  Stock  Exchange 
at  the  center,  nearby.  This  present- 
day  scene  Is  In  striking  contrast  to  that 
familiar  to  Peter  Stuyvesant's  children. 


9B.  SAME  MATTER  AS  9A  RE- 
SET, REARRANGED  AND  SET 
IN  PLAIN  TYPE  WITHOUT 
THE     USE    OF     ORNAMENT. 


it  has  a  place  there,  but  if  it  is 
historic  or  merely  pretty  it  has 
not.  If  it  does  not  call  atten- 
tion and  relate  itself  to  the  rest 
of  the  material  it  is  time  wasted, 
space  wasted,  good  material 
wasted  and  money  wasted.  You 
may  call  a  man's  attention  to  a 
thing  and,  if  it  is  not  related  to 
the  true  object  of  your  ad,  you 
may  destroy  the  possibility  of 
his  grasping  the  point  you  want 


nament  and  say  you  like  it,  and 
forget  about  all  else.  I  have 
been  trying  it  out  on  children 
in  high  schools  and  on  grown 
people,  and  find  this  is  too  often 
the  case. 

The  next  important  thing  is  the 
lavish  use  of  ornament  of  any 
kind.  This  putting  it  in  be- 
tween things  and  on  things — ■ 
putting  in   three  leaf  clovers, 


83 


trefoils  and  the  like  is  tawdry,  It  frequently  goes  other  ways, 

common  and  bad  taste.     How  Illustration  ought  to  illustrate, 

infinitely     better     that     there  'or  it  is  not  illustration.    I  think 

should  be  nothing  at  all  than  you  ought  to  ask,  "What  does 

meaningless     messes.     If     you  this   illustrate?"   and   to   ascer- 

have  two  lines  to  fill  out  use  tain  if  there  is  enough  incentive 

dashes   rather   than   bad   orna-  to  tie  it  to  what  you  are  trying 

§       ments.  to  sell.    I  think  this  illustration 

;  business  is  overdone  a  whole 

Let  me  tell  you  that  the  lav-  '  lot,  and  if  a  little  of  the  money 

ish   and   indiscriminate  use  of  were  put  into  arrangement  and 

such  stufif  destroys  the  interest  the  choice  of  color  schemes,  and 

as  well  as  the  beauty,  and  uses  into    educating    people    as    to 

up     space — good     space     that  what  things  mean,  just  as  many 

should  go  to  something  else.  goods   would   be   sold,    and    a 

great  deal  less  poor  illustrating 

Our  next  problem  is  the  dififer-  and      ineffective      advertising 

ence  between  "pretty  and  beau-  would  be  done, 
tiful,"  and  I  want  to  make  that 

as  clear  as  I  can.    Some  of  you  I  want  to  speak  of  the  pictorial 

in  this  class  believe  that  so  long  as  related  to  the  conventional, 

as  you  have  a  pretty  woman  in  The  lowest  type  of  art  is  abso- 

your   ad  you   have   advertised  lutely  pictorial — the   minutely 

anything    and    everything,  be-  pictorial   thing.      In   painting, 

cause,  as  one  of  you  said  here  the  lowest  possible  type  is  that 

one  night,  you  appeal  then  to  which  pictures  every  detail.   If 

human   interest  and  you   have  you  read  a  book  that  gives  you 

the  man.     All  men  are  inter-  the  last  word  in  detail  there  is 

ested  in  women,  but  all  women  not  much  satisfaction  in  read- 

aren't.     All  pretty  women  are  fing   the    book.      You    want   to 

not   interesting  under   all   cir-  leave  a  whole  lot  to  the  imag- 

cumstances  nor  all  men  inter-  ination    if    you    want    a    thing 

ested   in  all  pretty  women  all  good.     The  lowest  form  of  il- 

of  the  time.    And  very  seldom  lustration  is  the  one  that  makes 

in  your  ads  do  you  have  pretty  peaches    look    as    though    you 

women    who    are    really    con-  could  pick  them  right  up  and 

nected  with  the  things  you  are  eat  them.     If  they  do  that  thev 

talking     about.     The     human  have     told     their     last     word, 

mind   does  not  always  go  un-  When  there  is  a  suggestion  but 

aided  from  your  pretty  women  not  an  absolutely  pictorial  view 

to  the  material  you  advertise,  of  it,  then  there  is  something 


amr  nwimi  ininiiint 

84 


DDIBC 


TTii  Bn  r" 


3IDIIDC 


Dianic 


3  anal 


§ 
§ 


for  the  imagination  and  an  in- 
terest stimulus,  because  the  ten- 
dency to  use  the  imagination  is 
natural  in  human  beings.  It  is 
the  matter  of  suggestiveness 
that  you  want  to  get  into  illus- 
tration. The  Germans  have  got 
you  beat  to  a  finish  in  that.  The 
German  posters  are  all  flat  now 
— suggestive  and  decorative. 
This  enters  strongly  into  all 
European  art  now — flat  deco- 
rative treatment  as  opposed  to 
detail  pictorial.  We  are  the 
only  people  now,  except  the 
English,  who  are  actually  mak- 
ing pictures  that  show  even, 
well  polished,  finger  nails  with 
a  little  white  half-circle  on 
them,  one  eyebrow  heavier  than 
the  other,  and  so  on. 

This  type  of  illustration  of 
which  I  speak  is  known  as  con- 
ventional illustration.  It  is 
conventional  illustration  be- 
cause details  are  eliminated. 
Those  roses  of  which  I  spoke 
were  conventional  roses.  Con- 
ventionally treated  people  are 
used  with  them.  Have  dishes 
changed  any  since  you  can  re- 
member? Don't  you  remember 
when  it  was  the  style  to  have  a 


crab  on  the  salad  plate,  a  fish 
on  the  fish  plate,  etc.?  Now, 
everybody  smiles  when  they  see 
a  dish  that  is  naturalistic  in  its 
decoration.  You  will  see  just 
a  gold  line  or  a  gold  band 
around  it — this  is  because  peo- 
ple are  going  away  from  the 
picture  book  stage  of  under- 
standing. That  is  what  I  want 
to  see  advertising  do.  People 
must  fill  in  their  own  ideas 
from  illustrations.  They  only 
get  interested  in  what  is  per- 
sonal. The  more  suggestive 
your  ornamental  matter  and  il- 
lustrative matter,  the  more 
powerful  these  things  are  and 
the  more  are  we  on  the  right 
road  to  strike  the  psychological 
stimulus.  This  is  because  of 
the  selfishness  of  man,  because 
he  is  always  interested  in  what 
is  personal,  and  when  he  sees  it 
all  at  once  he  loses  interest  at 
once. 

The  instant  also  that  you  use  a 
thing  that  d'oes  not  relate  to 
anything  that  is  essential,  you 
are  losing  money,  time  and  ma- 
terial, and  you  are  not  doing  a 
beautiful  thing  in  the  end. 


1 


e 


THE  SIMPLEST  THING,  IF  IT  IS  ADEQUATE,  IS  THE  BEST 
THING.  THE  GREEKS  PROVED  THAT.  THEY  INVENTED 
THE  DORIC  AND  THE  IONIC  COLUMNS  TO  SUPPORT 
WEIGHT;  IT  WAS  THE  RENAISSANCE  THAT  PUT  THEM 
INTO  PILASTERS  SUPERIMPOSED  AND  STUCK  IN.  IT  IS 
THE  AMERICAN,  WHO  DOESN'T  EVEN  GUESS  WHAT  THEY 
WERE  INVENTED  FOR,  THAT  STICKS  THEM  IN  ANYWHERE, 
AND  AS  OFTEN  AS  SPACE  AND  MONEY  PERMIT.      F.  A.  P. 


■OBC 


DOBC: 


IDS 

85 


1 


I 

1 

I 


THE  PROVINCE  AND 
POWER  OF  COLOR 
IN   ADVERTISING 

CHAPTER  VIII 


I 


I 


1  TOO  [ 


f  Pin  PD  r 


THE  PROVINCE  AND  POWER  OF 
COLOR    IN    ADVERTISING 


CHAPTER    VIII.     Color  is 

one     of 

the  most  interesting  and  impor- 
tant elements  in  nature  because 
the  eye,  the  organ  of  one  of  the 
five  senses  of  man,  sees  nothing 
but  color.  Form,  as  we  call  it, 
is  seen  only  because  one  color  is 
placed  against  another,  and  by 
its  position  and  contrast  makes 
a  shape.  It  is  the  color  of  an 
object,  as  related  to  or  con- 
trasted with  that  of  other  ob- 
jects, that  makes  the  shape. 
Form  is  dependent  entirely  up- 
on color;  in  other  words,  there 
is  no  form  without  color.  This 
being  true,  color  is  more  im- 
portant than  form,  and  the  un- 
derstanding of  it  is  more  im- 
portant in  advertising  than  in 
any  field  of  applied  art,  because 
advertising  is  naturally  de- 
pendent upon  the  eye  alone, 
both  as  to  attention  and  as  to 
interest.  There  is  nothing  in 
advertising  to  appeal  to  the  ear, 
to  the  smell,  to  the  taste,  or  to 
the  touch.  It  is  one  of  the  arts, 
in  short,  in  which  sight  is  the 
only  sense  appealed  to. 

Since  the  eye  sees  only  color, 
and  advertising  must  appeal  to 
the  sense  of  sight,  it  is  one  of  the 
most  essential,  if  not  the  most 


vital  thing  for  the  advertising 
man  to  know  about.  To  know 
color  means  to  know  its  source, 
the  meaning  of  each  element 
and  the  qualities  that  color 
tones  stand  for.  Every  tone  of 
color  has  a  separate  meaning — 
yellow  speaks  a  definite  thing 
to  those  who  understand  it.  Blue 
cannot  say  what  yellow  says — 
neither  can  red  nor  violet.  Vio- 
let, orange  and  every  other 
color  means,  each  in  itself,  a 
definite  idea. 

The  Egyptians  used  five  colors, 
yellow,  red,  orange,  green  and 
blue.  They  used  them  in  their 
natural,  intense,  primitive  way, 
and  in  a  purely  symbolic  sense. 
The  early  American  Indian 
had  four  colors,  and  used  them 
in  their  pure,  normal,  strongest 
way.  The  Aztecs  and  other 
primitive  races  followed  the 
same  symbolic  color  use.  A 
certain  newspaper  uses  red  and 
blue  in  its  ads.  It  puts  together 
two  elements  of  color  in  a  man- 
ner fit  only  for  barbarians;  it 
grasps  only  the  primitive — the 
commonest  form  of  expression 
of  the  thing  for  which  it  stands. 

Little  children  do  the  same 
things  that  the  primitive  races 
have  done.     Everv  little  child 


1 


IBOBC 


3  nunc 


D  on  DDE 


89 


amzz 


imBDi 


name 


iDnal 

IB 


likes  bright  red,  bright  yellow, 
bright  blue,  bright  orange — - 
any  bright  color.  Every  uncul- 
tivated person  likes  bright  col- 
ors in  their  vague,  full  force 
just  as  uncultivated  people  and 
races  like  the  tom-tom,  the  bass 
drum  and  the  back  of  a  tin  pan 
better  than  they  like  the  harp  or 
the  piano,  whose  refinement 
and  complexities  they  do  not 
appreciate. 

Color  exists  because  of  light. 
Light  is  the  source  of  all  color. 
If  it  were  not  for  light  there 
would  be  no  color.  In  the 
night  there  is  none.  In  dark 
rooms,  shut  in  close,  there  is 
none.  When  you  close  your 
eyes  there  is  no  color,  except  as 
you  get  a  mental  picture.  The 
clearer  the  light  the  brighter, 
lighter,  stronger  the  color  is. 
In  the  evening  light  a  color 
does  not  look  as  it  does  in  the 
daylight.  It  won't  look  the 
same  in  gas  light,  or  candle 
light,  or  fire  light.  Every  arti- 
ficial light  changes  color.  If 
I  were  designing  a  program  for 
evening  use,  when  I  chose  my 
paper  I  would  choose  it  in  the 
light  in  which  it  was  going  to 
be  used.  If  I  were  designing 
for  the  subway,  I  should  not 
use  the  same  colors  as  I  would 
for  the  surface,  or  for  a  station 
in  the  sunlight.  The  expert  in- 
terior decorator  who  is  deco- 
rating a  room  for  evening  use 


chooses  all  paper,  paint,  kalso- 
mine,  rugs,  furniture  and 
hangings  in  the  light  in  which 
they  are  going  to  be  shown. 

Light  determines  color,  and  all 
colors  as  such  are  intended  to 
show  in  white  light,  or  day- 
light. The  brighter  the  sun- 
light the  stronger  the  color. 
You  know  you  can  see  a  green 
hill  with  a  house  on  it  eight  or 
ten  miles  away  on  a  clear  day, 
and  you  can  almost  count  the 
windows  in  the  house,  but  you 
can't  see  the  hill  or  the  house 
on  a  cloudy  day.  That  is  be- 
cause the  light  has  changed,  not 
because  the  color  has  changed. 

Every  ray  of  light,  however 
tiny,  contains  all  there  is  in 
color.  The  physicist  and  the 
chemist  will  tell  you  that  white 
light  contains  three  elements. 
It  is  necessary  for  us  to  know 
that  the  pigments,  oil  paint,  wa- 
ter colors,  pastels,  printers'  inks, 
dye  stuffs,  and  the  like,  are 
based  naturally  and  entirely  on 
those  three  elemental  units 
found  in  them,  namely,  yellow, 
red  and  blue.  These  three  col- 
ors put  together  in  a  certain 
proportion  make  a  pure  gray. 
They  make  gray  because  there 
is  a  sediment  in  each  one  of  the 
colors,  and  that  sediment  col- 
lects and  makes  the  gray.  If 
they  were  free  from  sediment, 
they  would  make  a  pure  white. 


B^C 


)|QQ 


90 


So,  if  I  know  how  to  mix  them, 
I  can  make  of  yellow,  red  and 
blue  a  pure  neutral  gray  with 
color  wholly  absent  from  it,  and 
I  can  also  create  any  of  the 
tones  that  you  see  in  the  spec- 
trum chart.  Gray  is  the  result 
of  the  fusion  of  the  three  ele- 
ments red,  yellow  and  blue,  and 
is  not  a  color. 

Let  us  deal  next  with  these  ele- 
ments separately.  First,  with 
yellow,  the  one  that  is  nearest 
like  light  to  the  eye. 

Yellow  is  the  piercing,  travel- 
ing, progressive,  incisive  color; 
in  short  it  is  known  as  the  lu- 
minous element  in  color.     It  is 
then     important     that    yellow 
should  be  used  understandingly 
when  you  wish  to  get  that  effect. 
As  the  result  of  experiments,  I 
found  that  in  a  dark  flat  with 
one  window  opening  on  a  court, 
and  the  room  papered  in  dark 
blue  or  dark  red,  I  could  not 
read  ordinary  newspaper  type, 
though   I   stood  within   a   few 
feet  of  the  window.     Then   I 
had  the  room  papered  in  a  light 
yellow,  intense  in  color,  and  I 
could  read  the  newspaper  easily 
in  the  same  position.    The  yel- 
low on  the  spectrum  is  twelve 
times  as  luminous  as  the  purple 
— twelve  times  as  strong  in  car- 
rying light.    This  fact  is  of  par- 
ticular importance    in    out-of- 
door  advertising. 


Violet  or  purple  is  the  color  of 
shadow,  of  darkness,  of  the 
night — the  shadow  quality  of 
light.  This  color  has  always 
been  used  to  express  mysticism 
— churches  use  purple  to  ex- 
press the  sentiments  of  mysti- 
cism and  solemnity.  Royalty 
uses  it,  and  always  has — it  is 
known  as  the  "royal  purple." 
People  who  wear  black  because 
their  friends  have  died  put  on 
purple  when  they  take  the 
black  ofif.  They  never  put  on 
red,  or  blue,  or  yellow.  Purple 
is  the  shadow  color,  the  sorrow 
color,  the  mystic  color,  the  op- 
posite of  light,  next  in  kin  to 
blackness.  Purple  always  rep- 
resents those  things  when  it  is 
knowingly  used.  This  fact 
counts  in  color  choice. 

The  second  element  in  color  is 
red.  The  primitive  peoples 
use  red  to  express  fire,  passion, 
temper,  tumult.  This  is  the 
reason:  there  is  no  color  known 
that  afifects  the  human  intelli- 
gence in  as  quick  and  as  irritat- 
ing a  way  as  red  does.  Red 
irritates  the  optic  nerve;  it  is 
aggressive;  it  arouses  the  pas- 
sions in  people  and  brings  out 
their  erratic  side,  just  as  it  ex- 
cites the  temper  of  the  bull  in 
the  ring.  Did  you  ever  hear  of 
anyone  shaking  a  blue  or  a 
green  rag  at  the  bull  in  a  ring? 
Did  you  ever  hear  of  a  turkey 
gobbler  setting  his  feathers  at  a 


i 


§ 
91 


QODC 


DDIDC 


DaDmi: 


nDDimc 


~)  MflP^ 


s 


11 

green   thing  or   a  blue   thing?  The  reason  is  this:  As  the  red 

The  turkey  gobbler  will  strut  excites  the  optic  nerve  by  its  ag- 

and  set  his  feathers  at  the  very  gression     it    "comes     at    you" 

sight  of  red.     Orange  will  af-  quicker,  and  you  seem  to  see  it 

feet   him    in    the   same   way —  nearer  to  you  than  you  see  the 

yellow,  a  little.  blue,  which  is  cool  and  retreat- 
ing and   appears   to  carry  the 

i       Another  illustration  might  in-  wall  away  from  you. 
terest  you.     A  certain  man  has 

made  the  experiment  of  paper-  Let  us  apply  these  things  to  ad- 

ing  a  room,  or  rather  covering  vertising.  If  I  take  an  advertise- 

it  with  textiles — he  could  not  ment  that  is  a  foot  square  and 

get   paper   with   colors    bright  put  the  whole  thing  in  bright 

enough.    The  room  first  was  in  red  with  a  few  black  letters  and 

white,  and  he  brought  in  some  a  few  white  ones  on  it,  then  T 

men  and  asked  them  to  judge  have  a  square  foot  of  the  most 

the  size  of  it.    They  judged  it,  exciting    thing    in    the    color 

and  wrote  the  result  on  paper,  world,  with  its  entire  appeal  to 

The  same  experiment  was  per-  the  eye  in  the  least  important 

formed  in  a   red   room  of  the  place — the  background.     If   I 

same  size,   and   the    result   re-  put  it  before  a  man  who  has 

corded.     These  men,  with  one  any    color    sense    at    all    he    is 

exception,  changed  the  figures  knocked  cold  when  he  sees  it. 

and    made    the    room    smaller.  It  would  give  an  exciting  shock 

Then  he  covered  the  walls  of  even  to  a  brute,  and  a  shock  is 

the  first  room  with  blue,   and  not  always  good  advertising, 
called  in  the  same  men.     All 

but  two  of  them  changed  their  On  the  other  hand,  if  I  should 
opinion  and  made  the  blue  put  a  soft  neutralized  red  in  its 
room  larger  than  either.  The  stead,  it  would  not  be  so  bad. 
average  opinion  was  that  the  Therefore  color,  which  is  a 
red  had  decreased  the  size  of  force,  must  be  conserved,  must 
the  white  room  20  per  cent  be  saved,  and  the  less  area  you 
in  appearance,  but  the  blue  had  use  its  full  intensity  the  better 
increased  it  20  per  cent,  so  that  oflf  you  are,  for  "enough  is  a 
there  was  a  range  of  40  per  feast"  of  anything.  Red,  then, 
cent  difiference  from  blue  to  is  fire  in  color.  It  is  the  thing 
white  and  white  to  red  in  the  which  excites.  The  Spaniard 
apparent  size  of  the  room  be-  needs  it  to  express  the  tempera- 
cause  of  the  color  of  the  wall  mental  condition  of  the  man. 
covers.  Many  Latin  races,  still  some- 


92 


IDOC 


T  pm  ^p  f 


inn  npif 


what  primitive  in  taste,  need  it 
to  meet  their  temperaments.  It 
is  the  color  farthest  away  from 
the  well-balanced  individual. 
It  appeals  to  passion  and  tem- 
per; it  is  aggressive  and  irritat- 
ing, and  should  be  used  in  mod- 
eration, or  toned  to  its  proper 
degree  of  elemental  force. 

The  other  quality,  blue,  is  the 
opposite  of  red.  Have  you  ever 
seen  Mrs.  Fiske  in  Becky 
Sharp?  If  you  have,  you  re- 
member the  blues  and  blue  grays 
she  used  in  her  stage  settings 
and  costumes.  These  expressed 
exactly  the  scheming,  unprin- 
cipled Becky.  Blue  is  the  un- 
feeling, cold,  formal  retreating, 
unsympathetic  color.  Does  not 
a  light,  clear  blue  suggest  snow 
and  ice  to  you?  What  would 
you  think  of  "A  Trip  to 
Alaska"  advertisement  with 
orange,  red  or  yellow  for  a 
background?  Would  you  think 
of  advertising  "A  Trip  to  the 
Equator"  in  the  same  colors  as 
A  Trip  to  Alaska"? 


a 


Blue  and  yellow  united  make 
green.  Do  you  see  why  green 
is  such  a  popular  color?  If 
yellow  is  light,  and  blue  is  cool, 
cool  and  light  appeal  to  us  as  a 
comfortable  and  pleasing  place 
for  summer  or  hot  weather. 
Why  do  you  suppose  the  grass 
and  the  trees  are  green,  instead 
of  orange  and  red?     They  were 


not  made  in  those  bright,  strong 
colors  for  the  reason  that  there 
is  no  continued  comfort  in  them 
at  the  time  when  grass  and 
trees  are  flourishing.  Why  do 
so  many  people  use  green  wall 
paper  and  green  hangings  for 
the  living  room?  They  do  so 
because  green  is  restful.  That 
is  why  birds  and  beasts  natural- 
ly go  to  the  green  fields,  with 
the  trees  and  the  blue  skies  over 
them. 

Green  rests,  and  I  want  to  have 
you  feel  that  this  too  is  a  factor, 
and  that  there  is  a  reason  why 
greens  and  blues  are  put  to- 
gether as  much  as  they  are.  You 
see  green  more  in  furniture, 
carpets,  clothes,  designs,  illus- 
trations and  advertisements 
than  any  other  color.  This  is 
true  also  of  textiles  and  of  wall 
coverings. 

Orange,  which  is  red  and  yel- 
low, is  fire  and  light,  and  I 
think  that  is  why  the  negro 
likes  it.  It  takes  that  strength 
of  appeal  to  touch  the  average 
negro's  color  sense.  There  is 
nothing  negroes  love  like 
orange.  Red  will  do,  but  they 
would  rather  have  the  orange. 
The  more  obtuse  the  individual 
the  more  he  will  favor  those 
colors.  When  he  can  stand 
bright  red,  bright  green  and 
bright  orange  touching  each 
other  he  mav  be  said  to  have  no 


a 


i 


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uniniiic 


DBIDDDC 


i^miiiDi 


i 


93 


ranrtii                                        immi                         ~iiiTniiiii  iminmi                    ~iiiniinir 

color  sense.  It  Is  the  same  with  them  as  a  background  for  an  ad- 
other  sense  stimuli,  like  noise  vertisement  you  have  taken  two 
for  example.  I  know  a  woman  of  the  three  possibilities  in  the 
who  says  she  would  not  move  color  field  and  put  them  to- 
off  Columbus  Avenue  if  you  gether  in  the  least  important 
gave  her  the  finest  home  on  place  in  which  they  can  pos- 
Riverside  Drive.  She  has  been  sibly  occur.  You  have  exhaust- 
living  there  for  years,  and  she  ed  two-thirds  of  the  possibility 
actually  likes,  so  she  says,  the  of  color  force  in  the  most  un- 
noise  of  the  elevated,  and  the  necessary  and  futile  way  it  can 
screeching  when  they  stop  the  be  used.  You  have  taken  two- 
trains.  This  has  grown  essen-  thirds  of  all  the  color  there  is 
tial  to  her,  and  to  move  away  and  expended  its  force  aimless- 
would  be  to  remove  something  ly  and  fruitlessly, 
from  her  life.  You  have  been  Green,  orange  and  purple,  hav- 
m  the  country  at  night  where  jng  two  of  the  primary  colors 
there  wasn't  a  sound— where  in  them,  are  the  binary  colors, 
you  couldn't  hear  a  thing  but  a  They  are  binary  in  their  na- 
cricket,  and  that  cricket  seemed  ture ;  they  contain  two  elements, 
to  be  making  more  noise  than  They  are  a  little  more  interest- 
all  New  York.  That  is  because  ing  than  the  primary  colors— 
your  nerves  have  been  excited  more  interesting  than  pure  red, 
or  over-stimulated.  People  or  pure  blue,  or  pure  yellow, 
who  use  color  intemperately  The  green  is  more  interesting 
become  drugged  with  it  and  than  pure  blue  and  pure  yellow 
incapable  of  understanding  and  because  it  has  both  light  and 
appreciating  its  true  meaning  coolness  in  it,  because  it  is  of  a 
and  usefulness  in  harmonies.  dual  nature;  in  other  words,  its 

Tv-r                  ,                 ,        1     ,  composition    presents    variety. 

Now,    we   have    analyzed    the  y-J^^   ^^      /  ^^    -^    ^^^   ^^^_ 

red,  yellow  and  b  ue,  and  they  ^^^^^^    ^J  therefore,  has  an 

are    the    three    elements    that  ^^^^^   -^^            although   it  is 

make   up    every   color.      They  ^^^  ^^  ^^^^^^^  ^^  ^^^ 
are    the    elemental    forces    of 

all  color  expression,  the  com-  The  second  step  in  color  analy- 

monest,   the   crudest,   the   most  sis  is  to  see  clearly  the  qualities 

childlike,  loudest  things  we  can  of  each  color  tone.     There  are 

create.    There  is  nothing  more  three  distinct  qualities  in  color, 

to  be  done  when  you  have  used  All    color    has,    first,    what    is 

them  in  their  fullest  brilliancy,  known  as  hue.    Blue,  green  and 

When  you  have  taken  two  of  the  like  are  called  the  cool  hues 


BBBf  iBi|ii         '  innnini         '      '  '"^Minnf 

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— violet  is  also  cool.  Red, 
orange  and  yellow  are  called 
the  warm  hues  of  color.  The 
hue  is  the  change  that  the  color 
undergoes  when  it  moves  a 
little  toward  the  next  in  the  cir- 
cuit— that  is,  orange  toward 
red,  blue  toward  green,  violet 
toward  blue  produces  what  is 
called  red-orange,  blue-green 
and  blue-violet  hues. 

The  second  quality  that  a 
color  has  is  its  intensity.  This 
is  perhaps  the  most  important 
quality.  Intensity  is  the  bril- 
liancy of  the  color,  its  own 
force,  its  limit  of  possibility. 
This  intensity  question  is  the 
most  vital  one  of  the  evening. 
I  want  you  to  see  how  too  much 
intensity  of  color  wastes  force 
in  advertising. 

When  a  ray  of  light  is  split  up 
and  thrown  out  like  the  spec- 
trum, from  a  piece  of  glass  or  a 
diamond  ring,  you  can  see  the 
three  colors,  red,  yellow  and 
blue.  Right  across  from  the 
yellow,  where  the  blue  lies 
across  the  red,  you  will  see  the 
violet.  Where  the  blue  lies  over 
the  yellow,  or  the  yellow  over 
the  blue,  you  see  the  green.  The 
red  and  yellow  together  make 
the  orange. 

> 
These  colors  are  complements, 
because  each  one  destroys  the 
other's    power.      Yellow    and 
violet  are  complements ;  green 


and  red  are  complements;  so 
are  blue  and  orange.  There 
are  three  pairs  of  complements 
in  the  spectrum  scale.  If  you 
put  yellow  into  violet,  or  violet 
into  yellow,  it  will  make  gray. 
A  little  yellow  in  violet  will 
soften  the  violet,  or  destroy 
some  of  its  native  force.  If  you 
put  red  into  green  the  green  is 
softened,  or  neutralized,  in  the 
same  way. 

If  you  are  using  blue,  and  you 
want  to  tone  or  soften  it,  do  it 
with  the  brightest  orange.  If 
you  have  no  orange,  take  red 
and  yellow  and  make  it,  and 
you  will  get  the  most  beautiful 
tone  of  blue  color,  soft  and  con- 
vincing, but  not  intense  or 
crude.  Black  put  into  these 
colors  gives  them  a  muddy, 
common  look.  The  comple- 
ments will  always  give  them  a 
soft  quality  with  their  native 
clearness  retained.  This  third 
quality  then  is  intensity. 

These,  then,  are  the  comple- 
mentary colors,  and  the  intensity 
in  a  color  is  decreased  by  the  in- 
troduction of  the  complement 
into  the  other  of  the  pair.  Full 
intensity  of  color  should  be  con- 
sidered as  impossible  in  the 
background  of  an  advertise- 
ment as  it  is  in  a  room.  It  is 
the  strongest  thing  that  can  be 
used,  and  if  you  use  it  in  a 
background  instead  of  in  the 
important   thing  you  want  to 


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101 A 


bring  out  and  emphasize,  you 
use  it  where  you  don't  want  the 
eye  to  go,  and  not  where  you 
want  attention  centered.  If  you 
are  hanging  a  picture  on  the 
wall,  the  less  disturbing  ele- 
ment there  is  around  it  the 
more  there  is  in  the  picture  and 
the  easier  the  picture  makes  its 
appeal. 

Backgrounds,  in  design  or  ar- 
rangement, have  for  their  ob- 
ject the  showing  up  or  the  ex- 
hibition of  something  upon 
them.  In  a  room  the  back- 
ground is  the  walls  and  the  floor 
and  the  ceiling.  In  a  showcase 
it  is  the  lining.  In  a  show 
window  it  is  the  framework  and 
the  lining  of  the  window. 

Diamonds  of  a  blue  white 
shown  on  yellow  plush  are 
bound  to  go  yellow,  and  the 
yellow  will  neutralize  the  blue 
and  produce  a  greenish  yellow. 
I  saw  some  diamonds  last  Sat- 
urday shown  that  way.  I  went 
in  and  asked  to  have  a  necklace 
taken  out  and  shown  me;  they 
proved  to  be  first-class  dia- 
monds, but  in  the  window  they 
would  have  passed  for  third- 
rate  vellow  stones.  The  dealer 
didn't  know  what  he  was  doing. 

The  backgrounds  used  by  the 
advertising  man  are  the  papers 
on  which  he  prints.  These 
backgrounds  bear  the  same  re- 
lation to  the  printed  matter,  to 


the  decorative  material  and  the 
illustrative  material  that  the 
side  wall  bears  to  the  picture  or 
to  the  furniture.  The  back- 
ground of  the  advertisement 
bears  the  same  relation  to  the 
printed  matter  as  the  back- 
ground of  the  show  window  I 
just  spoke  of  bore  to  the  things 
exploited  in  the  window.  It 
bears  the  same  relation  to  the 
material  of  the  advertisement 
that  your  clothes  bear  to  your 
face.  They  are  the  backgrounds, 
or  settings,  in  other  words,  to 
show  up  something.  I  submit 
to  you  whether  the  color  of  your 
suit  of  clothes  or  the  lining  of 
your  show  window  should  be 
more  intense  in  color  than  the 
things  exhibited  upon  it.  If 
they  should  not,  then  the  back- 
ground of  your  advertisement 
should  not  be  more  intense  than 
the  material  shown  on  it,  unless 
the  area  of  the  background  is 
less  than  that  of  the  type  or 
other  objects  shown  upon  it — 
which  is  verv  rare  in  advertise- 
ments. 

The  law  of  backgrounds  cannot 
be  violated  in  any  field  of  ap- 
plied art  without  producing  a 
bad  result.  The  law  is  this: 
"Backgrounds  must  be  grayer, 
softer,  or  less  intense  than  the 
objects  shown  upon  them." 

If  you  get  that  law,  that  back- 
grounds   must   be   less   intense 

(Continued  on  page   101) 


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Description  of  the  Color  Chart 


The  Color  Chart,  shown  on  the 
opposite  page,  shows  the  three 
primary  colors,  yellow,  red  and 
blue,  the  same  being  the  ele- 
ments out  of  which  every  other 
color  tone  is  made.  Yellow  and 
red  make  orange;  yellow  and 
blue  make  green ;  red  and  blue 
make  violet.  These  three  are 
the  binary  colors,  so  called. 
The  even  step  between  the 
binary  and  its  adjacent  primary 
is  called  the  hue,  thus  the  step 
between  green  and  yellow  is 
yellow-green  and  the  one  be- 
tween green  and  blue  is  blue- 
green.  These  two  are  hues  of 
green.  In  the  same  way  there 
are  two  hues  of  orange  and  two 
of  violet. 

Complements  are  shown  oppo- 
site each  other  in  the  circuit. 


The  outside  circuit  shows  the 
normal  colors  in  their  full  in- 
tensity. The  inner  circuit — the 
background  circuit  —  shows 
half-neutral  tones  of  the  same 
colors  each  made  by  adding  to 
the  normal  color  a  part  of  its 
complement.  The  central  tone 
of  gray  is  made  by  using  any 
pair  of  complements. 

Beside  the  Color  Chart  is  a 
Value  Scale  of  grays  from  black 
to  white  shown  opposite  the 
normal    color    maturity    point. 

The  right  hand  side  shows  the 
cool  colors  and  the  left  the 
warm. 

From  this  arrangement  the  se- 
lection of  possible  color  har- 
monies, either  analogous  or 
complementary,  is  simple. 


COLOR  IS  ONE  OF  THE  MOST  INTERESTING  AND  IM- 
PORTANT ELEMENTS  IN  NATURE  BECAUSE  THE  EYE, 
THE  ORGAN  OF  ONE  OF  THE  FIVE  SENSES  OF  MAN, 
SEES  NOTHING  BUT  COLOR.  FORM,  AS  WE  CALL  IT,  IS 
SEEN  ONLY  BECAUSE  ONE  COLOR  IS  PLACED  AGAINST 
ANOTHER  AND  BY  ITS  POSITION  AND  CONTRAST  MAKES 
A  SHAPE.  AND  EVERY  TONE  OF  COLOR  HAS  A  SEPARATE 
MEANING— YELLOW  SPEAKS  A  DEFINITE  THING  TO  THOSE 
WHO  UNDERSTAND  IT.  BLUE  CANNOT  SAY  WHAT 
YELLOW   SAYS— NEITHER   CAN  RED   NOR  VIOLET.     F.   A.   P. 


THIS  ILLUSTRATION  SHOWS  BLACK  PRINTED  MATTER  ON  A  FULL  INTENSE 
RED  BACKGROUND.  NOTE  THE  EFFECT  OF  THE  USE  OF  THE  INTENSE  COLOR 
AS  BACKGROUND.  TRY  A  WHITE  ON  IT.  THEN  A  FULL  INTExNJSE  GREEN. 
ALL  ARE  DESTROYED  IN  EFFECT  BY  THE  OVERWHELMING  AMOUNT  OF 
RED.     REFER  TO  LA\\-  OF  BACKGROUNDS  AND  TO  LAW  OF  ARE.XS  FOR  THIS  EFFECT. 


THIS  SHOWS  THE  SAME  PRINTED  MATTER  ON  A  HALF  INTENSE  RED 
BACKGROUND  MADE  BY  PLTTINc;  PURE  GREEN  INTO  PURE  RED.  SUB- 
STITUTE WHITE,  THEN  PURE  GREEN  PRINTED  MATTER,  AND  COMPARE 
Willi       TlIK       ABO\E       ILLUSTRATION,       FOR       RELATIX'E       STRENGTH       OF       TYPE. 


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fthan  the  objects  shown  on  them, 
you  will  realize  why  a  man  can 
wear  a  redder  necktie  than  coat 
— because  of  the  area  of  it. 
That  is  why  a  small  piece  of 
pottery  on  a  mantel  could  be 
bright  red,  or  blue,  or  yellow 
and  not  ofifend  you,  while  a  wall 
paper  the  same  color  would  be 
unbearable  in  its  aggressive,  ab- 
normal display. 

The  smaller  the  area  the  more 
intense  the  color  may  be,  and 
the  more  intense  the  color  gets 
the  less  area  it  must  have,  until 
in  full  intensity  it  must  be  in 
small  spots,  and  placed  at  the 
points  you  wish  to  emphasize. 

Having  covered  hue  and  inten- 
sity, we  now  come  to  the  fact 
that  the  third  quality  every 
color  has  is  value.  This  idea 
of  value  relation  has  to  do  with 
light  and  darkness,  from  white 
to  black,  so  that  the  white  is  the 
lightest  value  and  the  black  is 
the  darkest  value.  White  is  the 
nearest  to  yellow — black  is  the 
nearest  to  violet.  Yellow  itself 
is  one  step  from  white.  That 
is  why  normal  blue  shows 
plainer  on  white  than  it  does  on 
black;  it  is  nearer  to  black  in 
color.  There  is  a  difference  be- 
tween the  quality  of  light  and 
darkness  and  the  quality  of  in- 
tensity, and  that  is  where  people 
get  mixed  in  their  contrasts. 
Which  is  the  stronger,  black  on 
white  or  white  on  black?  Black 


on  white  of  course,  because 
white  diffuses  light  rays,  and 
black  absorbs  them.  White  is 
all  three  colors  fused  together. 
If  the  three  colors  produce 
white,  you  can  understand  why 
white  reflects  back  color.  Black 
has  no  color  in  it  at  all.  It  is 
the  absence  of  color,  and,  there- 
fore, it  absorbs  a  lot  of  the 
colors  in  a  ray  of  light  when  it 
is  put  on  it  instead  of  sending 
them  back  to  you. 

The  colors  are  stronger  on 
white  than  on  black.  Do  you 
see  now  why  they  are?  Black 
is  stronger  on  white  than  white 
is  on  black  for  the  same  reason, 
and  a  black  sign  printed  in 
white  has  not  near  the  carrying 
force  that  a  sign  with  black  on 
white  has.  The  more  transpar- 
ent a  color  is  the  nearer  to  white 
it  is  on  a  white  background, 
and  the  nearer  it  approaches 
black  the  more  opaque  it  is. 

Bear  in  mind  these  three 
fundamental  qualities.  Every 
color  has  first  its  hue,  second  its 
intensity  and  third  its  value,  or 
its  light  and  dark  effects.  Each 
of  these  presents  an  opportunity 
for  contrast  in  combination 
with  other  colors. 

The  next  thing  to  consider  is 
the  law  that  fixes  our  selection 
of  colors  which  may  be  used  to- 
gether. This  is  color  harmony. 
Things  are  in  harmony  when 


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certain  relationships  exist  be- 
tween them,  and  at  no  other 
time.  Colors  are  harmonious 
when  there  is  a  likeness  in  them. 
Flow  much  is  yellow  related  to 
green?  One-half.  Is  it  related 
to  blue?  No.  How  much  is 
green  related  to  blue?  One-half. 
Will  yellow  and  green  and  blue 
form  a  color  harmony?  No, 
never  in  their  full  intensity. 
Are  green  and  blue  harmon- 
ious? Yes.  They  are  half 
brothers  to  begin  with.  This 
natural  blood  relationship  is  the 
basis  for  the  harmony  of  like- 
ness, or  analogy,  in  color  choice. 
There  are  two  kinds  of  color 
harmony.  Both  of  them  are 
based  on  relationship.  The 
first  kind  is  called  related  or 
analogous  harmony.  This  type 
is  based  on  colors  chosen  near 
together  in  the  spectrum,  for  in- 
stance, yellow  and  green,  green 
and  blue,  blue  and  violet,  violet 
and  red,  red  and  orange,  orange 
and  yellow.  They  are  each 
partly  related  to  the  other,  and 
therefore  are  harmonious  to- 
gether. These  analogous  colors 
may  be  used  together  so  long 
as  you  don't  oppose  the  primary 
colors  in  your  choice,  and  value 
and  intensity  laws  are  obeyed. 

The  second  kind  of  harmony  is 
called  harmony  of  contrast. 
Choose  and  pair  the  comple- 
mentary colors,  like  blue  and 
orange.    Those  two  may  never 


be  used  together,  each  in  its  full 
intensity,  except  separated 
strongly  by  black  or  white. 
They  may  be  used  together, 
however,  when  one  of  them  is 
half  neutral.  Suppose  I  am 
making  a  car  card  and  want 
to  use  orange,  blue  and  black. 
Which  will  be  the  right  thing 
to  do,  to  get  a  neutral  orange 
paper,  "light  yellowish  brown" 
and  put  the  full  intense  blue  on 
it,  or  get  a  neutral  blue  and  put 
the  orange  on  it?  The  light 
background  is  better,  and  must 
be  at  least  half  neutral. 

Thus  we  have  two  kinds  of 
harmony  at  our  disposal,  ana- 
logous and  complementary. 
Black  and  white  may  go  with 
any  color  combination  and  be 
right,  and  so  may  a  perfectly 
neutral  gray. 

Let  us  next  define  the  terms 
tint  and  shade  so  that  they  may 
be  used  in  their  proper  mean- 
ing. A  tint  is  a  tone  which  is 
lighter  than  the  color  itself  at 
normal.  Any  red  which  is 
lighter  than  the  natural  red  is 
a  tint,  and  any  red  that  is 
darker  than  that  is  a  shade.  A 
tint  is  a  thing  lighter  than  the 
normal  color.  The  addition  of 
water  or  white  gives  it  a  tint. 
The  shade  is  made  by  adding 
black  to  the  normal  or  natural 
color. 

In  the  successful  use  of  color 


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we  must  first  choose  harmoni-  our    advertising    matter    with 

ous  colors  and  recognize  their  understanding,    discretion    and 

possibilities  of  contrast  through  temperance.     This  is  not  only 

a  knowledge  of  their  qualities;  true    art,    but    the    economic, 

then  we  must  organize  and  ad-  natural    and   sane   commercial 

minister   color   distribution    in  course  to  follow. 


THE  UNITED  STATES  SENDS  PRACTICALLY  NOTHING  TO 
OTHER  COUNTRIES  EXCEPT  CANNED  BEEF,  AUTOMOBILES, 
SEWING  MACHINES,  MOWING  MACHINES  AND  RAW  MA- 
TERIALS. IT  IS  NOT  POSSIBLE  FOR  US  TO  BUILD  CARPETS 
AND  RUGS  AND  CLOTHES  AND  FURNITURE  AND  TEX- 
TILES AND  OTHER  BEAUTIFUL  THINGS  THAT  PEOPLE 
IN  JAPAN  AND  CHINA,  OR  EVEN  GERMANY  AND  FRANCE 
AND  ENGLAND  WILL  ACCEPT,  BECAUSE  THE  QUAL- 
ITY OF  ART  IS  NOT  IN  US.  UNTIL  THIS  QUALITY  IS 
IN  US,  WE   CANNOT  PUT  IT  INTO   MATERIALS.      F.  A.  P. 


■ 

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THE  SELECTION 
AND  USE  OF  TYPE 
IN  ADVERTISING 

CHAPTER  IX 


THE    SELECTION  AND   USE    OF 
TYPE    IN    ADVERTISING 


CHAPTER     IX. 


Very 

=========     inti- 

i  mately  connected  with  illustra- 
tive matter  and  decorative  mo- 
t  i  ve  s  is 
the  sub- 
j  e  c  t  of 
type  in 
the  con- 
struction 
of  an  ad- 
ve  rtise- 
m  e  n  t. 
To  me  it 
is  vastly 
more  im- 
po  rtant 
because 
all  ad- 
vertise- 
ments 
cannot  be 
illus- 
trated, 
nor  do 
they  re- 
quire ornamental  motives 
placed  around  them,  above 
them,  or  below  them.  Most  of 
them     do     not     require     such 


thing  to  study  among  the 
mechanical  devices  for  convey- 
ing thought  that  the  adver- 
man    has    to   deal   with. 


A  BOOK  COVER  SHOWING  ILLUSTRATION 
AND  TYPE  WHICH  ARE  HARMONIOUS 
WITH  THE  TITLE  AND  WITH  EACH  OTHER. 


tising 


There 
are  limi- 
tations in 
type.  I 
r e  al i  ze 
that  it  is 
perma- 
nent and 
inflexible 
in  form, 
and  that 
cost  limits 
us,  so  that 
we  can- 
not a  1  - 
ways  have 
our  own 
choice  in 
the  mat- 
ter, but  at 
the  same 
time  I  believe  that  there  is 
a  vast  chance  to  use  type 
shapes  knowingly  that  all  of 
us  have  not  thought  of.   There- 


things,  but  every  advertisement  fore,    I   want  to  bring  before 

must   have   type   to   convey   to  you    a    few   of   the    ideas    that 

public  intelligence  the  thought  seem  to  me  to  be  important  in 

we  have  to  present.     Since  we  the  matter  of  lettering,  or  the 

must  use  type  so  much,  it  seems  use  of  type,  to  convey  thought 

to  me  to  be  the  most  important  to  the  public  in  our  advertising. 


e 
§ 


§ 
§ 


10/ 


Type,  by  its  size,  shape  and 
general  character  alone,  is  ex- 
pressive of  certain  thoughts, 
and  these 
thoughts,  or 
feelings,  in  type 
ought  to  express 
what  the  adver- 
tisement claims 
to  stand  for  just 
as  much  as  the 
illustration  does. 
Let  me  illus- 
trate: If  I  am 
advertising  a 
delicate  per- 
fume and  the 
character  of  the 
letter  in  size  and 
shape  does  not 
in  any  way  rep- 
resent the  lan- 
guage of  the  ad- 
vertisement but 
is    a    letter   that 


ing,     should 


Something  every  woman  wants 

^^5  in  tfya  n  ity  ^o\ 

A  constantly  increasing  number  of  women  find  a  Vanity  Box  wwh 
Talc  Powder,  pufF  and  mirror,  indispensable  when  shopping 
motonng,  tra^'cling  or  at  the  seashore.  Most  women,  especially 
young  women,  will  be  glad  to  get  one  of  these  attr3cti\e  and 

useful  little  boxes  for 

which,  at  a  store. they 

would   wilhngly  piy 

a  dollar  or  more     If 

you  don'i  need  it  your- 
self, it  will  make  an 

exquisite  little  present, 

for  some  fncnd 


So,    it    is    essential    that    the 
type,  particularly  hand  letter- 


a 
the 

the 
an- 


What  others  say 

To  indicate  how  acceptable  this 
little  Vanity  Box  is,  we  quote  a 
few  IrtTcM  from  women  who  have 
received  the  Vanity  Box. 

-Thedatnlyhni  sm>F<1  tadarsnct  I  nm  toplrMP^ 


iFlifhlMlwIII 


&.o»tiilul 


tDO'e  UUD  will 


How  to  get  It 

Buya  can  olWi/Ad";;' Talc  Powder, 
send  us  the  name  ot  the  dealer  of 
whom  you  bought  it,  the  date  and 
16  cents  It  stampi  We  will  send  you 
this  beautiful  silver-plated,  hinged 
top  i'atjiiy  fiojT.  with  imported  pow 
der  puff  and  concentrating  mirror 
Sent  only  on  above  conditions 
The  Canity  Box  is  heavily  plaied 
and  should  last  for  years 


V\)illiams 
^Ic  Powder 

MAGAZINE  AD  IN  WHICH  THE  KIND 
OF  TYPE  USED  FOR  "\'ANITY  BOX" 
AND  "WILLIAMS'  TALC  POWDER"  IS 
ADMIRABLY  SUITED  IN  FORM  TO 
THE  IDEA  OF  VANITY.  THE  SHAPE 
AND  LINE  OF  THE  ORNAMENT  AT 
THE  TOP  SUGGEST  THE  SAME  IDEA. 


be  judged  by 
feeling.  It  must 
express  what  the 
words  say,  or 
two  thoughts  are 
presented  to  the 
consciousness.  If 
there  is 
thought  in 
meaning  of 
words  and 
other  thought  in 
the  meaning  of 
the  type,  we 
have  lost  the 
point;  we  have 
said  two  things 
at  once,  and  we 
have  missed  the 
chance  to  say 
the  same  thing 
twice,  which 
you  all  know  is 
better  than  once 
if  there  is  inter- 
est in  the  man- 
ner of  saying  it. 

There    are    two 


ought  to  repre- 
sent lead  pipe  or 
pig  iron,  the 
type  is  mislead- 
ing and  inap- 
propriate. The 
character  of  the  letter  which  kinds  of  type:  First,  that  which 
says  'Svading  birds,"  meaning  is  historic  in  its  significance; 
storks  and  other  long-legged  and,  second,  that  which  is  per- 
birds  with  slim  heads  and  very  sonal  and  individual  in  its  sig- 
long  necks,  should  never  be  nificance.  First,  we  will  deal 
used  on  a  book  cover  that  talks  with  the  historic  kind, 
of  printing  presses  or  freight 

cars.  The  character  of  letter  We  have  alphabet  shapes  clear- 
that  can  say  French  chiffon  ly  defined  as  expressive  of  cer- 
can't  say  wrought  iron.  tain    historic    things.      Gothic 


i 


s 


B 


e 


BPHC 

io8 


]npc 


3  DID  nut 


lanc 


type  expresses  life  in  Gothic 
times.  Old  English  type  ex- 
presses life  in  the  dav  of  Henry 
VII,  Henry  VIII  and  the  old 


Hampton  Court,  or  the  chapel 
of  Henry  VII,  or  the  interior 
of  any  other  old  English  struc- 
ture of  the  period.    If  the  ideas 


®Jto||^j|| 


Tire  trouble  is  not  a  factor  w  ith 
THE  Franklin.   Large  tires,  light 

WEIGHT  AND  RESILIENCY  ELIMINATE 
THE  ANNOYANCE  AND  EXPENSE  OF 
BLOW-OUTS:    EVEN    PUNCTURES   ARE 

RARE.  Total  service  per  set  of 

TIRES  BY  actual  REPORTS  FROM 
OWNERS  IS  EIGHT  TO  TEN  THOUSAND 
MILES  WITH  AN  AVERAGE  OF  THREE 
THOUSAND  MILES  WFTHOUT  A   PUNC 

TURE.   Four  chassis  sizes  and 

TWELVE  BODY  STYLES  INCLUDE  TWO 
FOUR-.  FIVE-.  AND  SEVEN-PASSENGER. 
MODELS 

ILLUSTRATED  CATALOGUE  SFNT  ON  RE0UF5T 

Franklin  Automobile  Company 

Syracuse   N   Y 


-MAGAZINE  AD  SHOWING  TYPE  OF  A 
VERY  IMPERSONAL  NATURE;  AB- 
STRACT, AND  THEREFORE  NOT  MIS- 
LEADING     IN      ITS      SIGNIFICANCE. 


English  periods  in  which  that 
type  was  first  cast,  and  they  ex- 
press the  thoughts  of  those  peri- 
ods just  as  much  as  big  rufifs, 
padded  waists,  padded  sleeves, 
full  skirts,  white  stockings, 
linen  panelling  and  gothic 
arches  expressed  the  thought  of 
the  age.  Old  English  type 
means  just  as  clearly  a  certain 
thing  and  a  certain  spirit  in 
English  life  as  does  the  decora- 
tive material   on   the  walls   of 


ICfje  ?BaIbtoin  ^Iapcr=^iano 

0(  marvelous  simplicity  and  accomplishment  ,  a  mechanism  enabtioff 
you  to  rejiroduce,  photographically,  evcrysuhlletv  of  an  artist's  style.— or, 
to  read  into  the  lines  your  own  interpretation  of  the  composer's  meaning 

The  distinctive  character  of  the  Baldwin  Piano  exacted  a  "Player"  of 
particular  scope  and  refinement :  one  capable  of/u/.'y  exploitmg  Baldwio-tooe. 

Baldwin  player-mcchanism  is  the  mate  ideal  o(  the  Baldwin  Piano 

The  result  is  "«  new  kind  of  player  music"  io  which  the  performer's 
enjoyment  is  spontaneous  and  personal,  the  tonaliues  beautiful,  the  artistic 

Illusion  complete. 

Let  D!>  send  ynv  tb«  Boob  of  the 
BALDWIN    PLAVER-PLVNO 


"      Si)eIalbin^ompantj 


IbZ*  CAllfonU  St 


SHOWING  USE  OF  HISTORIC  TYPE,  IN 
HEADINGS,  NOT  SIGNIFICANT  OF  THE 
PERIOD  NOR  OF  THE  ARTICLE  AD- 
VERTISED. NOTE  EFFECT  OF  COM- 
BINING THIS  TYPE  WITH  THAT 
USED  IN  THE  BODY  OF  THE  AD. 
AND  ALSO  THE  INCONSISTENCY  OF 
THE    SMALL    "THE"    IN    THE    HEADLINE. 


and  ideals  of  what  the  English 
were  in  those  periods  find 
expression  in  carved  wood, 
wrought  iron,  textiles,  furni- 
ture and  all  things  else,  why  is 
not  the  type  just  as  significant 
of  the  period  and  its  ideas  as 
the  walls,  textiles,  pottery, 
dishes  and  other  materials  are? 
A  nation  and  people  always  ex- 
presses itself  in  more  than  one 


109 


QDDC 


1 PP)  f 


§ 


meeiium, 
but  it  ex- 
presses 
the  same 
ch  a  rac- 
teristics 
all  the 
time, 
wheth- 
er it  is 
building 
houses, 
weaving 
carpets  or 
wri  ting 
books.  It 
seems  to 
me  that 
the  very 
appear- 
ance of 
old  Eng- 
lish type 
bars  out 
the  possi- 
bility, by 
the  law  of 
associa- 
tion, of  its 
i  n  d  i  s  - 
criminate 
use.  I 
don't 
mean  by 
that  ei- 
ther that 
every- 
thing 
English 
should  be 
nor    do    I 


The     Principles    of    Arrangement 

'  I  "HE  League  has  conducted  a  course  of  study  and  experiment 
designed  to  find  out  the  basic  principles  which  may  with 
certainty  be  appHed  to  the  arrangement  of  advertisements,  in 
order  that  they  may  secure  attention,  be  made  attractive,  easily 
and  quickly  comprehended,  and  from  their  very  appearance 
expressive  of  the  message  they  arc  intended  to  convey. 

Sixty  advertising  men  have  participated  in  the  work  and  unani- 
mously pronounce  it  of  great  practical  value.    . 

Many  of  the  principles  formulated  are  illustrated  in  the  exhibit  by 
examples  showing  both  conformance  and  violation. 

A  circular  descriptive  of  the  work  in  detail  may  be  had  at  th^ 
exhibit. 


SHOWING  GOOD  TASTE  L\  THE  SELECTION  AND 
ARRANGEMENT  OF  TYPE.  NOTE  THE  :MARGINS 
OF  SHEET,  THE  SIZE  OF  HEADING,  THE  KIND 
OF     TYPE    AND     THE     KIND    AND     SIZE     OF    INITIAL. 


n 


DRY  GOODS  ECONOMIST 


Fabric  Section 


NEW  YORK.  SATURDAY  DECEMBER  4.  lOM 


TRADE  PAPER  HEADING.  NOTE  EFFECT  OF  USING 
FOUR  STYLES  OF  TYPE.  THE  TOP  ROW  SUGGESTS  A 
STONE  WALL;  THE  SECOND  LINE  ABOUT  THE  TEX- 
TURE OF  WOOD;  THE  FOURTH  LINE  IS  EXCEPTION- 
ALLY GOOD  AS  SUGGESTIVE  OF  AN  EGYPTIAN  TISSUE. 

Is  a  T^henomenal  Success 

UR  increased  output  for  the  Spring  Season 
1910  is  entirely  sold  out.  The  jobbers 
throughout  the  country  have  taken  it 
all— every  piece.      LORRAINE  EGYP- 

NOTE  THE  INCONSISTENCY  OF  PLACING  AN 
INITIAL  SO  FAR  BELOW  THE  OTHER  LETTERS 
OF  THE  SAME  WORD  AND  INTRODUCING  THE 
LARGE  AREA  OF  SURROUNDING  ORNAMENT- 
THEREBY     FURTHER     ISOLATING     THE     INITIAL     "O." 

in  old  English  type,     ical,  but  whenever  his 
mean    that    every-     ter    is    expressed    in 


thing  old 
should 
be  in  old 
English 
type,  but 
every- 
thing 
in  old 
E  nglish 
type 
should 
be  sug- 
gested by 
some  of 
the  activ- 
i  t  i  e  s  , 
thought 
processes, 
condi- 
tions or 
limita- 
tions of 
the  pe- 
riod to 
which  it 
belongs. 

What  is 
true  of 
old  Eng- 
lish type 
must  be 
true  also 
of  any 
other 
type 
which  is 
purely 
h  i  s  t  o  r- 
toric  mat- 
type    to- 


jOBfflC 


jnDmc 


DBBII 


IIO 


BIID( 

i 


1  PTiT  Bfl  r" 


ZIOBIQDC 


§ 
§ 


tally  foreign  In  feeling  to  the 
thought,  it  is  bad.  Whenever 
totally  modern  things,  in  rela- 
tion, in  feeling  and  in  spirit,  are 
said  in  type  of  a  different  pe- 
riod, that  is  bad,  because  there 
is  a  double  thought  present,  and 
one  thought  should  be  empha- 
sized by  repetition  instead  of 
being  killed  by  opposition.  Let 
us  then  look  into  the  historic 
significance  of  letter  forms  and 
make  them  a  force  as  they 
should  be. 

The  second  kind  of  type  is  the 
personal  or  individual  type.  I 
want  you  to  remember  my  illus- 
tration of  the  chiffon  cloth  as 
opposed  to  the  wrought  iron; 
the  wading  birds  as  opposed  to 
freight  cars  or  printing  presses. 
Old  Dutch  Cleanser  is  opposed 
to  fine  laces,  just  as  much  as  a 
church  revival  is  opposed  to  a 
French  ball.  If  there  is  noth- 
ing expressed  by  the  form  of  a 
letter,  then  there  is  not  anything 
suggested  to  you  when  I  say 
*'wading  birds"  and  describe 
their  long,  slim,  angular  legs. 
If  the  character  of  the  letter 
suggests  the  wading  bird,  then 
all  these  other  things  will  come 
to  you,  if  you  will  give  the  sub- 
ject any  thought.  I  submit  to 
you  that  a  Dutch  W  and  a 
French  W  must  necessarily 
look  different.  The  French 
ball  would  be  advertised  by  a 
different  shaped  and  different 


sized  letter,  than  a  Dutch  kitch- 
en or  a  Dutch  door.  There 
is  a  feeling  of  heavy,  thick, 
ponderous  shape;  there  is  a 
broad,  well-set  feeling  in  the 
Dutch  idea — and  there  is  in  the 
Dutch  letter.  There  is  a  long, 
rather  slim,  rather  refined,  not 
too  stable  but  very  graceful 
feeling  in  the  French  idea. 
There  could  not  be  a  French 
idea  that  you  could  take  hold 
of  and  use  for  a  paving  stone. 
French  things  are  always  sug- 
gestive of  something  that  you 
think  you  are  just  going  to  get 
hold  of  when  it  vanishes.  There 
is  a  refinement  about  them; 
they  are  imaginative,  generally 
somewhat  charming  to  look  at, 
and  they  cannot  be  expressed  in 
crude  blocks  of  wood  or  cold 
stone  posts. 

These  different  types  and  kinds 
of  letters  have  to  me  and  to  a 
great  many  other  people  a  very 
definite  meaning.  Clumsy  ones 
feel  to  me  like  freight  cars. 
Thick,  heavy,  very  strongly 
contrasted  ones  feel  more  like 
machinery  and  similar  things 
than  they  do  like  chiffon  and 
laces. 

When  illustrations  do  not  have 
anything  to  do  with  the  point  I 
say  leave  them  out.  When  they 
do  have  anything  to  do  with  the 
point,  thev  must  illustrate  that 
point.     When  decorative  mat- 


e 


1 


IB^ppp 


Dmnmc 


DBomr: 


i^miiDc: 


3I1DB 
III 


1  Bffllt  T 


Tien  nwr" 


lona 


ter  has  no  function  to  fill,  ex- 
cept to  occupy  space,  leave  it 
out.  When  letters  are  rightly 
used  they  will  speak  what  the 
advertisement  is  intended  to 
say  by  their  make  up,  size  and 
form  as  well  as  by  the  words 
spelled  out.  Let  every  letter 
have  a  mission,  just  as  every 
word  has  a  mission.  If  the 
shape  and  form  of  the  word 
means  anything,  every  letter  in 
it  means  something.  If  every 
letter  has  a  meaning  it  must 
measure  up  to  the  possibility  of 
its  force  in  every  special  use. 

The  right  idea  in  the  selec- 
tion of  type  is  the  idea  of  per- 
fect consistency  between  the 
type  and  the  thought.  Now 
then,  in  the  use  of  upper  and 
lower  case  material  there  is  a 
chance  for  us  to  apply  that  fact 
or  that  law.  There  must  be  co- 
ordinate type  where  there  is  co- 
ordinate thought.  What  would 
you  think  if  the  name  John 
Howard  Smith  were  shown  in 
difTferent  letters — John  in  cap- 
itals, Howard  in  script  or  old 
English  and  Smith  in  italics? 
It  would  be  a  little  out  of  the 
ordinary,  wouldn't  it?  But  you 
do  not  seem  to  think  it  strange 
to  put  a  ''the"  in  italics  and  an 
"International  Paper  Com- 
panv"  in  another  type  and 
"Chicopee"  in  another.  If  I 
have  a  right  to  put  a  "the"  in 
italics  or  a  freak  type  and  "In- 


ternational Paper  Company"  in 
another  type  and  "Chicopee" 
in  another,  then  I  have  just  as 
much  right  to  divide  my  name 
or  the  title  of  a  book  into  sev- 
eral type  faces.  One  would  be 
just  as  attractive  and  no  more 
erratic — no  more  impossible — 
than  the  other.  Why  isn't  it  a 
law  of  common  sense  that  a  con- 
secutive unit  of  thought  must  be 
expressed  in  the  same  kind  of 
material?  A  principle  is  a 
principle,  and  when  you  violate 
it  there  ought  to  be  a  very  good 
reason  for  the  violation. 

What  about  the  particular  point 
to  which  you  want  to  call  at- 
tention? I  have  an  idea  that 
underlining  was  invented  for 
that  purpose.  In  writing  you 
underline  to  show  an  italicized 
word.  It  seems  to  me  that  the 
use  of  italics  in  the  middle  of 
sentences  is  a  fad,  pure  and 
simple,  and  for  the  life  of  me  I 
can't  see  why  we  should  not  un- 
derline a  word  as  well  as  to 
place  it  in  italics.  But  I  have 
,seen  many  an  italicized  word 
also  underlined.  That  is  nega- 
tion. Italicizing  and  underlin- 
ing is  doing  the  same  thing 
twice ;  it  is  doing  nothing  by  the 
process  of  negation.  I  don't 
suppose  there  are  many  among 
the  masses  that  don't  know  that 
two  affirmatives  make  a  nega- 
tive and  two  negatives  make  an 
affirmative;  one  kills  the  other 


BDDC 


DDQim: 


IDBSIBDC 


3BBBC 


lOBB 


112 


)  gjjIBj  C 


3nni  one 


ncniciDc 


"iTBHini  r 


It  seems  to  me  that,  if  I  am 
right,  underlining  is  the  thing 
to  do  generally,  because  you 
preserve  the  unity  of  expression. 
Who  would  think  of  expressing 
a  unity  of  thought  in  a  divided 
way,  in  more  than  one  medium 
or  kind  of  material? 

Perhaps  this  is  one  of  the  sim- 
plest and  the  niost  glaring  faults 
that  we  see  in  our  average  ad- 
vertising— that  beastly  way  of 
putting  anything  and  every- 
thing in  italics.  "The,"  "A" 
and  "And"  italicized  are  the 
joy  of  some  people,  particularly 
if  they  can  get  a  little  curve  on 
the  end  of  the  "The."  On  the 
face  of  it,  isn't  it  foolish  to  cater 
to  the  impossible  absurdities  of 
ignorance  to  bring  goods  before 
general  intelligence?  The  ab- 
surdity detracts  from  the  power 
to  appreciate  merit. 

Now  about  the  matter  of  ini- 
tials. There  is  a  tendency  now 
among  people  of  taste  to  omit 
them  everywhere.  This  is  sure- 
ly better  than  use  at  random. 
The  initial  is  so  clearly  asso- 
ciated in  our  minds  with  orna- 
mental stuff  that  it  is  almost  im- 
possible to  separate  ornament 
and  initial  into  two  things  and 
think  of  them  as  two  things.  Do 
you  not  think  that  the  initial 
exists  for  the  same  reason  that 
the  "The"  in  italics  exists? 
Isn't  it  merely  a  matter  of  put- 
ting something  pretty  or  deco- 


rative at  the  beginning  more 
often  than  otherwise?  If  the 
initial  is  used  there  must  be 
good,  clear  judgment  as  to  four 
things:  The  initial  must  be  con- 
sistent in  character  with  the 
type  you  use  after  it.  There 
are  those  that  stand  three  or 
four  lines  below  the  place  they 
belong,  and  renaissance  orna- 
ment is  used  to  fill  up  the  ob- 
long or  square  extending  over 
three  or  four  lines  of  used  space. 
If  the  initial  is  dropped  three 
or  four  lines  below  the  next  let- 
ter, with  which  it  belongs,  to 
make  room  for  bad  ornamental 
stufi,  is  that  good  form  in  print- 
ing? The  letter  must  be  con- 
sistent in  type,  and  it  also  must 
be  consistent  in  size.  Some  of 
these  initials  are  out  of  all 
character  with  the  size  of  the 
type.  I  have  never  seen  a 
good  initial  occupying  more 
than  three  lines.  The  shape  of 
the  initial  should  be  in  charac- 
ter with  the  type  that  follows  it, 
and  the  decorative  matter,  if  it 
is  historic  at  all,  must  coincide 
with  the  type,  historically,  and 
also  with  the  subject  of  your  ad. 

Any  decorative  initial  with  ma- 
terial around  it  is  not  good  in 
combination  with  type  of  a  dif- 
ferent school,  or  kind,  or  idea, 
and  it  is  not  good  when  it  says 
one  thing  in  decoration  and  the 
reading  matter  says  another 
thing.     "Decorative  stufif"  is  a 


1 
§ 


B 


§ 
§ 


i 


imc 


niBB 


113 


DBDDC 


i^iniBsc 


^mnit 


dangerous  thing.  We  can  say 
one  thing  with  the  initial,  an- 
other with  the  decoration,  an- 
other with  the  alphabet  we  are 
using,  and  another  in  the  words. 
There  can  be  four  things  said 
all  at  once  to  the  intelligent 
man — but  his  intelligence  will 
likely  not  enable  even  him  to 
get  them  all  at  once. 

All  this  material  should  say  the 
thought  we  are  trying  to  bring 
out.  The  thought  is  not  "pret- 
ty"; ordinarily,  it  is  not  "deco- 
rative," and  the  decoration  must 
be  subordinated  wholly  to  the 
thought,  if  we  are  going  to 
make  the  thought  count.  "Or- 
namentation" destroys  thought. 
Decoration  embellishes  it.  This 
is  the  age  in  which  thought 
counts — an  age  of  mental  strife, 
of  mental  push,  of  mental  sug- 
gestion. Things  are  very  much 
more  suggestive  now  than  they 
ever  were  in  the  world's  history. 
In  business,  in  commercial  life, 
and  in  social  life  detailed  ex- 
pressions are  giving  place  to 
suggestion  or  suggestive  mate- 
rial. 

I  am  trying  to  make  you  see  the 
value  of  elimination  and  to  dis- 
criminate as  to  "what  goes  with 
what."  To  eliminate  decora- 
tive matter  and  to  keep  the  dec- 
orative material  and  type  all 
one  is  harmony.  The  tendency 
in  life  and  progress  is  to  do  just 


that;  there  is  no  live  progress 
which  does  not  tend  to  work  to- 
ward the  suggestive  and  away 
from  the  detailed  expression,  so 
as  to  conserve  time  and  expense 
and  to  develop  individuality. 
In  so  far  as  we  reduce  to  the 
simplest  terms  the  way  of  tell- 
ing things,  we  shall  be  in  the 
line  of  progress.  The  process 
of  elimination  should  be  active 
more  than  anywhere  else  in  the 
choice  and  arrangement  of  type 
and  decorative  material. 

Let  us  reduce  the  question  of 
type  to  a  clear  working  basis  as 
expressing  thought.  Even  if 
b-o-y  spells  boy  and  e-l-e- 
p-h-a-n-t  spells  elephant,  I 
could  select  the  type  so  that 
each  would  look  more  like  the 
other  than  itself.  As  I  said, 
then,  if  I  am  expressing  a  thin, 
transparent,  indefinite  thing,  I 
won't  try  to  do  it  with  a  Dutch 
alphabet.  If  I  want  stability, 
strength,  hard  material,  large, 
ponderous  masses,  I  will  not  at- 
tempt to  get  them  with  a 
French  letter,  nor  with  a  letter 
that  is  akin  to  the  illustration  I 
gave  you  of  the  wading  birds. 
If  I  am  going  to  use  historic 
type,  I  must  use  it  in  a  way  that 
will  allow  it  to  mean  what  it 
stands  for. 

Again,  I  must  make  my  initials 
mean,  in  decorative  motive,  in 
size  and  shape  and  in  character, 


BDDC 


DDIDC 


3  name 


3  Dame 


30DDII 


)QQ 


114 


QQS  [ 


the  same  thing  as  the  type  with 
which  I  use  them,  and  there 
must  be  some  discrimination  as 
to  their  size.  Italics  and  under- 
lining cannot  be  used  with  the 
same  word.  Underlining  gen- 
erally is  better  than  italics  be- 
cause that  does  not  disturb  the 
thought.  You  know,  psycho- 
logically, that  every  time  there 
comes  a  change  in  the  unit  of 
thought  there  comes  a  mental 


jar  as  you  adjust  yourself  to  the 
new  train  of  suggestion.  If  I 
change  my  type  I  go  on  another 
track,  and  must  get  back  again 
to  the  track  I  was  on  in  the 
first  place  before  I  can  proceed 
with  the  thought.  Consistency 
is  the  keynote  in  this,  just  as  it  is 
in  the  choice  and  arrangement 
of  all  materials  with  which  the 
human  attempts  to  express  his 
mental  processes. 


AN  INDUSTRY  CANNOT  POSSIBLY  BE  SEPARATED  FROM 
THE  IDEA  WHICH  THE  PEOPLE  HAVE  OF  WHAT  IS  THE 
THING  TO  BE  DONE;  THERE  CAN  BE  NO  INDUSTRY 
WITHOUT  ART  IN  IT.  THE  MORE  ART  THERE  IS 
IN  IT  THE  BETTER  THE  INDUSTRY,  MORALLY, 
COMMERCIALLY,  EDUCATIONALLY  AND  EVERY  OTHER 
WAY.  THERE  IS  NO  SUCH  THING  AS  DIVORCING 
CONCRETE  EXPRESSION  FROM  ART,  NO  MATTER 
HOW     MUCH     YOU     MAY     DESIRE     TO     DO     SO.      F.    A.    P. 


I  ^Q^Q( 


115 


THE  TOPOGRAPHY 
OF  ADVERTISING: 
A    RECAPITULATION 

CHAPTER  X 


3  EDI  QD I 


J02IDDC 


JODDniC 


lona 


THE  TOPOGRAPHY  OF  ADVER- 
TISING:   A    RECAPITULATION 

CHAPTER      X.     In  the  the    appearance    of    the    entire 

study  layout,  or  set-up,  of  the  ad.     I 

of  the  science  of  geography,  or  use  this  term  in  preference  to 

the  science  of  geology,  we  use  yours  because  topography  will 

the     word     "topography,"     to  include  the  illustrations,  the  de- 


THE  SIDE  HEAD 


VERTICAL  TURRET  LATHE 


4j^5^ 


The  Bullard  Machine  Tool  Co. 


BRIDGEPORT.  CONNECTICUT 


UNITED  STATES  Of  AMERICA 


BOOKLET  COVER  SHOWIXG  CLEAR- 
NESS THROUGH  SIMPLICITY,  DIGXITV 
THROUGH  BALANCE  AND  INTEREST 
THROUGH    SIZES    OF    SPACE    AND   TYPE. 

mean  "appearance  of  surface." 
I  know  that  you  have  a  term 
"typography,"  but  "topogra- 
phy" seems  to  me  a  little  broad- 
er than  your  word,  and  I  am  go- 
ing to  use  that  as  descriptive  of 


GOODRICH 

DRUGGISTS,  SURGEONS 
AND   MISCELLANEOUS 

RUBBER  SUNDRIES 


The R F.GOODRICH  COMPANY 

Faclorie.:  AKRON.  OHIO,  U.  S.  A. 


ANOTHER  GOOD  COVER,  BUT  LESS 
HARMONIOUS  ON  ACCOUNT  OF  THE 
EMPLOYMENT  OF  AN  INAPPROPRI- 
ATE AND  NON-SUGGESTIVE  TRADEMARK. 

scriptive  or  decorative  motives, 
as  well  as  the  type  matter.  In 
geography  and  geology,  topog- 
raphy means  the  general  ar- 
rangement of  the  mountains,  the 
hills,   the  prairies,   the  plains, 


i 

i 


Dmmc 


iniDt 


119 


)  BDDl  [ 


inmBTH' 


}  IB  BBC 


imt 


the  valleys,  the  ponds,  the  lakes 
and  the  other  materials  that  go 
to  make  up  the  surface.  When 
a  topographical  map  of  a  coun- 
try is  made,  a  person  who  un- 
derstands the  forms  used  can 
see  just  how  and  to  what  ex- 


is  of  an  advertisement,  all  the 
illustrative  matter,  all  the  orna- 
mental matter,  and  all  the  type 
matter  in  perfect  sequence,  one 
idea  depending  upon  the  other 
logically,  if  he  knows  the  lan- 
guage of  arrangement? 


HELD  THURSDAY  EVENING 
NOVEMBER  THE  SECOND 
AT  THE  ALDINE   CLUB 


TEL-ELECTRIC    PROGRAM 

JAMS',    STANLEY     BAlSO 

PIANO     NUMBERS 

1. 

OVERTURE.   THE    PINK    LADY                                  v.n  CAKYLL 

I 

SECOND    HUNGARIAN    RHAPSODY                                     tiili 

\ 

4 

LA    FERIA                                                                                   lACOMet 

BORNEO    RAO                                                                   NtIL   MORCT 

5. 

THE    SPANISH    DANCER                             .        .         v    Di   CHIARa 

fc 

MYSTERIOUS    RAG              "                               UtRLiN   ».    JNYOt- 

7. 

FAU8T   PANTAI5IE                                                     lYDNcv   1«;ti, 

VOCAL    NUMBERS 

t. 

THE    TOPER    AND    THE    DEVIL                                     neisiCGtR 

I. 

THE    HUNGARIAN    HORSEMAN                               Out   ip«*ts 

!  :i 


EXCELLENT  CHOICE,  AR- 
RANGEMENT AND  D  1  S  P  L  AY 
OF     TYPE     FOR     A     DLXNER     PROGRAM. 


tent  one  section  is  related  to 
each  of  the  others.  A  person 
who  understands  the  language 
of  topography  can  read  a  topo- 
graphical map  and  know  pret- 
ty nearly  all  there  is  to  know 
about  the  surface  arrangement 
of  any  locality  on  the  earth's 
surface.  Why,  then,  should  not 
a  man  be  able  to  read  all  there 


PAGE  FROM  THE  SAME  PROGRAM:  GOOD 
ARKAXGEMEXT,  BUT  HEADING  IS  TOO 
SMALL  FOR  FORCEFUL  ATTRACTION, 
THUS  INTERFERING  WITH  THE  EN- 
TIRE      TOPOGRAPHICAL      SEQUENCE. 


It  seems  to  me  to  be  the  near- 
est to  exact  analogy  between 
your  work  and  other  sciences 
that  I  have  been  able  to  find, 
because  the  power  of  your  ad- 
vertisement is  tested  by  its  effi- 
ciency, and  this  is  clearly  relat- 
ed  to   the   matter   of   display. 


30DIDQ I 


J^BBIC 


IH^BTIf 


I20 


Whether     the 
advertisement 
is    good,    or 
w  h  e  t  h  e  r   it 
is     efficient 
fin  an  c  i  a  lly, 
c  ommercially, 
etc.,    depends 
on    that.     The 
£i  n  a  I    test    of 
every  adver- 
tisement is  the 
commercial  re- 
turn.   The  first 
question  is, 
does    it    bring 
business?    The 
first    result 
looked    for   by 
the  advertising 
man   is   an   in- 
crease   in    de- 
mand for  what 
he     advertises. 

Let  us  clearly 
un  d  e  r  s  t  and 
that    all    the 
principles     o  f 
a  r  r  angement 
we  have  talked 
about   up   to 
this    time     are 
included  in  the 
topography   of 
adve  rt  ising. 
There    can    be 
no  selection  of 
i  Uustration, 
ornament,     o  r 
t  V  p  e  matter, 


We  take  off  our  hats  to 
nobody  on  the  subject  of 
correct  styles  for  men  and 
young  men. 

Here  are  Fifth  Avenue 
fabrics  and  fashions  minus 
Fifth  Avenue  prices. 


Material,  model,  fit  and 
workmanship  such  as  only 
the  best  New  York  stores 
can  give. 

Kvery  snit  in  our  collec- 
tion m.ade  as  an  individual 
a-arment,  and  the  most 
honest  and  reliable  tailor- 
ing. 

If  this  is  the  kind  of  cloth- 
ing you  want,  you  are  the 
customer  we  want. 

Suits,  $15  and  upwards. 
Overcoats,   $15    and    up- 
wards. 

A.E.Ruggles 


ciivrr  F  roT  UM\'  xewspaper  ad,  illus- 

?R^TiNG  GOOD  TOPOGRAPHY  ™ 
rjjnfcv    CiV    TYPF      AjRRANGEMKa  i     AlNU 

baTIxce  OF  iieAdixg  and  signature. 


and   there   can 
be  no  arrange- 
ment   of    them 
in  an  advertise- 
m  e  n  t     which 
does    not    call 
for  a  consider- 
ation   of    each 
of     the     prin- 
ciples    of     ar- 
rangement. 
These    prin- 
ciples also  ap- 
ply in   arrang- 
ing everything 
else  which  man 
sees,  hears  and 
feels,    and 
which      he 
organizes    into 
units,     because 
the     principles 
of  arrangement 
are  the  same  in 
music,  in  a  pic- 
ture, in  the  side 
wall  of  a  room, 
in  an  article  of 
furniture  or  in 
any  other  field 
of    design. 
These    p  r  i  n  - 
ciples  must  ap- 
peal to  human 
intelligence,  or 
there  is  no  in- 
telligence pres- 
ent.   The  more 
we    investigate 
dififerent  classes 
of  people   and 


B 


e 


]  IQ  Q  [ 


iimc: 


i^ma 


come  back  to  our  own  work,  the     ment  can  not  be  applied.    You 


more  sure  we  are  that  we  are  on 
the  right  track  so  far  as  these 
principles  are  concerned. 


Jh 


comobile 

Xittle  Six 

XOitR  60  Worse  "Power. 


Exactly  the  Size  Gir  that  You 
•Want.  A  Little  Six  in  Appear- 
ance, in  Economy,  and  in  Conven- 
ience. A  Little  Six  with  a  60 
Horse  Power  Motor  possessing  the 
-leserve  potential  of  a  Big  Six. 
Ten  Inch  Upholstery. 


Lbcomobib  Company  of  America 

MrwYark 


lIMkvs  IT.  X.  SMitfK 

iNB  MoTon  c*a  ca, 
»m*i»,tL.l,. 


NEWSPAPER  AD  TYPOGRAPHICALLY 
GOOD  L\  CHOICE  OF  HEADING  TYPE  TO 
HARMONIZE  WITH  TRADEMARK.  TRADE- 
MARK SHOULD  BE  RAISED  UNTIL 
FLUSH   WITH   THE   LAST  LINE   OF  TYPE. 

Now,  one  modifying  state- 
ment: There  is  no  law  with- 
out an  exception.  There  is 
always  the  exception  which 
proves  the  law  or  the  rule. 
There  is  no  advertisement  to 
which  every  law  of  arrange- 
ment can  be  applied,  and  there 
is  no  advertisement  to  v/hich 
some  of  the  laws  of  arrange- 


cannot  apply  all  the  laws  sup- 
posed to  govern  any  class  of 
things  to  any  one  thing  in  that 
class.  There  will  always  be 
form  limitations,  size  of  type, 


The  Norton  Grinding  Machine 
As  A  Stock-Removing  Tool 

Note  The  Resemblance  Of  These  Frajments  To  Lache  Chips 


Then  ore  many  cues,  vhcrr  male- 
mi  can  b*  ronovrd  much  f^tw  wilh  a 
frmding    wheel    than    with    a    milling 

Arl  when  you  comr  to  consider  it, 
tbr  grinding  wbret  ox  now  made  is  rtally 
«  (nilling  ruiltr  wiih  millictu  of  mttinj 
Inth  and  Uicu-  method  of  cutting  is 
much  tbc  ^Axnt. 

Note  U)C  Micro  photograph  of  Oiipl 
from  a  mudcrn  gnndmg  wheel  and 
Iheir  membljiii:*  to  lathe  chipS. 

Although  the  teeth  of  a  grinding 
wheel,  of  course,  are  not  as  large  not  as 
itTong  as  the  teeth  of  a  steel  cutter,  and 
cannot  cut%s  deeply,  yet  they  are  capa- 
ble  of   (-uttmg  at  muLb  grcatcj   ipeed. 


And  as  there  are-  *o  tcasy  of  than, 
in  a  given  time  they  caa  do  more  wnrfc, 
pro\-ided  the  work  is  of  tuch  natun  m 
to  allow  a  large  number  of  theie  cutlinf 
point!,  to  be  uxrd  simult^eously 

Ei);ht  hundred  mUhon  per  nnnute  ■■ 
Dot  uncommon  and  four  hundred  milli*^f| 
per  minute  is  very  commoti. 

It  must  be. remembered,  however,  that 
a  heavy,  mbstaolial  and  rigid  machine 
is  required,  and  that  the  Norton  Grmd- 
ing  Machme  i^  exactly  nich  a  machine. 

We  would  like  to  taVe  up  the  qucstim' 
of  grinding  with  you  in  detail  We 
believe  it  will  pay  you  Ut  do  your  fTud< 
ing  the  Norton  way 

H'n«  /«■  Calalci  ,V. 


Norton  Grinding  Co. 


Cklea(o  Store:  II  North  Jtffetun  SitmI 


TRADE  PAPER  PAGE  EXCELLENT  IX 
CHOICE,  PLACING  AND  CONTRAST  OF 
TYPES.  NOTE  HOW  CIRCULAR  FORM  HAS 
BEEN  USED  AS  A  MEANS  OF  EMPHASIS 
AND     AS     A     STIMULUS     TO     INTEREST. 

limits  of  the  page,  the  charac- 
teristics of  the  man  you  deal 
with,  and  the  educated  taste  of 
the  public  to  be  reckoned  with. 
These  prevent  the  perfect  ap- 
plication of  all  the  principles 
of  arrano-ement  to  anv  one 
thing.  But,  there  is  no  adver- 
tisement made  that  some  of  the 
principles   are  not  very  active 


QQDC 

122 


IDSEHIC 


3CIDIIIDII 


DiQlBJDC 


I^ODDIC: 


3IBB| 


and  necessary  in.    On  the  other  good  chair,  no  matter  how  well 

hand,  there  is  no  advertisement  this  ornamentation  is  done.  It  is 

in  which   all   these   principles  the  same  way  also,  in  advertis- 

are  possible  in  their  best  sense,  ing,  the  first  thought  is  the  use. 


The  next  step 
to  take  is  to 
get  at  our 
principles  of 
criticism,  and 
to  so  arrange 
and  so  subor- 
dinate topics 
of  criticism 
that  the  aver- 
age man  will 
have  some- 
thing to  refer 
to  by  which 
he  may,  if  he 
cares  to,  judge 
the  topogra- 
phy of  any- 
thing in  which 
he  is  inter- 
ested. 


In^ersoll  - 1  renton 


i^erso 


19 

Jewels 


$25 

.ncl$35 


[m 


If  vou  want  a  watch  that 
represents  the  highest 
power  in  watch  manutac- 
turing,  which  is  at  once 
a  durable  pleceof  machin- 
ery, a  beautilul  ornament 
and  an  accurate  time- 
keeper, in  which  every 
ounce  of  waste  in  manu- 
facture has  been  removed 
so  as  to  keep  the  pnce 
within  reach  of  any  man, 
in  which  systematic  man- 
agement and  economical 
application  of  factory 
methods,  as  well  as  a 
splendid  sales  system  and 
wideexpcrienceinmarket-' 
ing  watches  have  all  been 
used  to  produce  the  best 
watch  made,  at  a  lower  price' 
than  such  watches  nave' 
everbeensoid  before.then 
ask  your  jeweler  to  show 
you  andexplainto  youthe 
Ingersoll-TrentonW'atcK, 

ROBT.  H.  INGERSOLL  St.  BRO..  125  AahUnd  Building,  New  York' 


This  watch  is  guaranteed  as  to 
movement,  is  adjusted  to 
five  positions,  two  more  than 
required  for  railroad  test,  is 
carefully  assembled  in  a  case 
that  fits,  can  be  had  in  a 
twenty-year  gold-filled  case, 
has  nineteen  jewels,  and  will 
prove  a  Iifc-time  companion 
to  any  man  wise  enough  to 
view  this  question  of  watch 
buying  in  a  sensible  light. 
The  Ingersoll- Trenton 
Watch  is  second  to  none,  no 
matterwhatits  cost  orwhat  its 
appearance,  in  every  quality 
that  makes  a  watch  valuable. 
Ingersoll-Trenton  Watches 
soldonly  by  responsible  jewel- 
ers everywhere.  Nine  thou- 
sand jewelers  handle  them, 
por  a  completeandconclusive 
description  o(  the  Ingersoll- 
Trenton  Watch,  write  today 
for  the  book,  "How  to  Judge 
a  Watch," 


MAGAZINE    PAGE    WHOSE 

IS        INTERESTING        AND 

THROUGH   THE    CHOICE    OF 

SIGNS     OF     BACKGROUND. 

BORDER,       ARRANGEMENT 

GOOD     DISPLAY    AND    THE 

USE     OF     OCCULT     BALANCE      IN     THE 

PLACING     OF    THE     ILLUSTRATION. 


cause 
them 


the    eye 
easily, 


In  applied  art 

of    any    kind 

we  have  what 

we     call     the 

use   of   the   object   as   the   first 

point  of  criticism.    If  you  have 

a  chair  in  which  you  can't  sit 

with  ease,  it  is  not  a  complete 

chair,  even  though   it  may  be 

beautifully  carved.     If  it  is  so 

shaped  or  so  carved  on  the  back 

that  it  tears  your  clothes;  or  if    This  implies  that  three  things 

it  has  a  thistle  or  a  rose  that    should  harmonize.     If  the  type 

sticks  into  your  back,  it  is  not  a     is  harmonious  with  the  thought 


I         went 
through     300 
advertise- 
ments    to    see 
how    many 
times  I  got  the 
thought  at  the 
first  glance.  In 
a  good   many 
instances  I  got 
some     other 
thought — the 
altogeth- 
er    wrong 
thought  — be- 
fore    I     read 
the  text.    You 
first  get  sight 
c  o  n  n  e  c  - 
tions,  but  the 
thoughts  have 
to  come  at  the 
same  time. 
Very     many 
advertise- 
ments  fail  be- 
does    not    read 
or   because    the 
mind  does  not  read  them  easily, 
or  because  they  say  a  different 
thing   to    the    eye    and    to    the 
mind. 


TOPOGRAPHY 

EFFECTIVE 

TYPE,   DIVI- 

CIIOICE     OF 

OF       BASE, 

EXCELLENT 


loinic 


]Q^( 


123 


smr 


J  QQ)  [ 


]  Q]  Q  [ 


|(QQI^ 


it  is  good;  if  the  illustration 
says  the  same  thing  that  the 
thought  and  the  type  do,  it 
is  good;  if  the  decorative 
matter  says  the  same  thing — or 
does  not  say  anything — it  is 
good.  If  you  have  laurel 
leaves,   and   a   Roman   wreath 


the  necessity  for  principles. 
Even  though  a  man  is  an  artist, 
if  there  is  no  principle  back  of 
what  he  does  it  is  not  practical. 
If  you  are  not  an  artist,  there  is 
certainly  a  necessity  for  princi- 
ple, or  your  work  must  be  dis- 
organized.    We   begin   in   art 


A  CAR  CARD  ILLUSTRATING  THE  FACT  THAT  ATTEXTIOX,  INTER- 
EST AND  MERIT  MAY  BE  ATTRACTED  AND  EXPRESSED  THROUGH 
ARRANGEMENT.     NOTE     SPACES,     MARGINS,     BALANCED     PARTS,     ETC. 


and  festoon  belonging  to  the 
age  of  Roman  games,  it  will 
dispute  your  advertisement  of 
machinery,  it  will  dispute  your 
advertisement  of  chiffon,  or  it 
will  dispute  your  advertising  a 
French  product,  because  it  will 
speak  another  tongue.  No  one 
of  these  three  things  may  dis- 
pute the  other,  and  they  must 
none  of  them  dispute  the 
thought  of  any  other  if  you 
want  a  clear  advertisement. 
This  shows  the  importance,  and 
not  only   the   importance,   but 


expression  with  the  study  of  the 
first  principle  of  form. 

Following  the  type  harmony 
with  the  thought  of  the  ad,  and 
illustrative  and  decorative  har- 
mony with  the  thought  of  the 
ad,  we  come  to  the  third  prin- 
ciple of  criticism — "Consistent 
sizes  and  shapes."  After  we 
have  found  that  a  thing  is  con- 
sistent in  material,  we  may  find 
that  it  is  not  legible.  It  is  then 
time  for  us  to  see  if  we  have 
done   our   utmost   to   make   it 


mnnoc 


iirmimc 


mnmic 


Dame 


124 


009 1: 


3  ©OD  t 


JQQ]  doc 


Dimal 


legible   by   putting   it   clearly,  and  make  sure  that  everything 

pleasingly  and  tellingly  on  the  is  properly  arranged  around  it. 

page.    We  must  see  what  mar  We   learn   to   determine  when 

gins  we  shall  leave  around  the  one  mass  pulls  away  from  an- 

page,  and  what  blank  spaces  we  other,  and  when  they  hold  to- 

shall  leave  between  the  groups  gether.     We  learn  that  circles 


The  Home  Of  The 
Card  Organization 


Card  Tap  Service 
Never  Stops 


E£E 


Verc'i  Dm  war  we  look  M  h. 

EwT  C»rd  T4p  bit  lU  n»n>*.  "S  *  CJrt,"  cumptd  oB  It 


li  ItDl  iht  Xit. 


much  u  ibc  culiuinneu,  ihii  li  imporuot  M 


la  lUi  pUot  •  C">i  mtnr  devtlopintnts  and  Innsvtiioni  In  tip  mklac 
ktc  bwn  madt  iinct  181*— (hii,  la  mini  c«i«.  Juc  m  'he  Iicl  thie  our 
oiu  URi  bu  tHcn  (D  mike  Uu  ben  itt%  <riii  reodeni  iLjJ  tad  lajrcuinr 
arc  cipiMc  dI  (nrnlnt  suL 
la  dtu  ficiorf  ilx  quBnon  cF  con  tut  ilwiri  t*cn  xcooilirr.     to  Iba 


K  -Cin  iher 


mt  »<tici 


lod  ■  R  us  ruble  proSL 
*by  Ac  raotr  eipcricoccd  «Mfc 


If  n  dort  lood  work  iBe  mei 

doctD"!,  be   hnen   ibii.  loo. 

In  oibcf  «Drdi  itK  tepuiiuan  inu  mcuu  iBc  Uh  ot  our  builnew  U  Hiked 

or  every  C«rd  T.p.  ever^wberr.  ilvain. 

Tbai')  »b»  we  »»Di  ihe  Servlc*  Idu  lo  (o  (lone  wlih  ticry  up  «e  kIU 

Vc   Vint   ID   kDD*    aMi   itur   IK  dolnc^ud.  if  ihttel  inyililiit  lhe|F 

4a/n  do  10  fBwr  M'lilictieft.  ve  irint  le  kns*  dm  auai  ot  ilL 

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DOUBLE  PAGE  ARRANGEMENT  EXCELLENT  IN  ALL  BUT  ONE  PARTICULAR;  THE 
ILLUSTRATION  ON  THE  FIRST  PAGE  IS  A  LITTLE  TOO  STRONG.  WE  NATURALLY 
BEGIN  TO  READ  AT  THE  LEFT,  AND  THE  STRONGEST  STIMULUS  SHOULD 
BE  ON  THE  RIGHT  HAND  PAGE  IF  IT  IS  IMPOSSIBLE  TO  BALANCE  THEM. 


of  type  matter;  in  short,  how 
we  shall  alter  the  topography 
of  the  advertisement.  The 
Greek  law  of  sizes  and  the  law 
of  consistent  and  inconsistent 
shapes  help  us  to  see  where 
a  seemingly  impossible  thing 
may  be  made  fairly  good. 

The  first  step  is  to  see  if  the 
margins  are  right;  then  we 
must  locate  the  optical  center. 


do  not  go  well  with  squares, 
and  that  inconsistent  shapes  and 
inconsistent  sizes  are  readily 
distinguished  when  we  test 
them  by  the  Greek  laws  of 
area  and  well-related  shapes 
and  sizes.  The  way  we  should 
do  in  designing  such  things  is 
to  cut  pieces  of  paper  and  place 
them  on  the  page  we  are  going 
to  use;  then  move  them  about 
and  sav  that  this  shall  represent 


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the  title,  and  this  the  descrip- 
tive matter,  and  so  on.  It  is  a 
very  good  thing  to  see  the  lay- 
out in  the  abstract.  Then  you 
can  make  sure  of  your  one- 
thought  arrangement.  The 
more  you  heave  ideas  together 
and  see  how  much  you  can  get 
at  once,  the  less  apt  you  will  be 
to  preserve  the  unit  of  thought. 

The  next  principle,  is  "Con- 
I  sistent  balance  of  attractions," 
horizontal  and  vertical.  If  you 
will  place  the  horizontal  line  a 
trifle  above  the  real  center,  you 
will  get  its  perfect  feeling — the 
optical  center.  You  bid  for  at- 
tention by  the  position  of  that 
line  and  if  you  put  a  spot  there, 
you  make  two  bids  for  a  look. 

In  balancing  your  attractions, 
keep  in  mind  also  the  principle 
of  movement  which  we  studied 
some  time  ago.  The  eye  natur- 
ally follows  lines  or  spots 
placed  in  succession,  in  prefer- 
ence to  the  structure  of  the 
page.  It  is  something  opposite 
to  the  general  build  of  the  unit 
which  the  eye  detects  quickly. 

It  is  probably  true  that  if  we 
had  a  perfectly  consistent 
movement  throughout  an  entire 
ad,  there  would  be  danger  of 
its  getting  monotonous.  If  you 
should  ride  over  the  prairies 
from  Western  New  York  to  the 
Missouri    River,    you    would 


give  ten  dollars  if  you  could 
see  a  hill. 

But,  though  an  advertisement 
that  is  perfectly  consistent 
would  perhaps  in  time  be  mo- 
notonous, we  need  not  worry 
about  that — the  wide  variety 
of  material  we  use  will  prevent 
monotony.  And,  speaking  of 
consistency,  remember  that  the 
nearer  a  piece  of  material 
comes  to  the  edges  of  an  ad  the 
more  it  should  be  consistent 
with  them.  If  you  bring  your 
erratic  things  away  from  the 
edges,  you  will  see  how  much 
better  the  efifect  is.  In  every 
picture,  every  advertisement, 
every  side  wall,  the  center  of 
interest  is  away  from  the  corner 
or  edge. 

There  is  so  much  overdoing  in 
one  place,  over  emphasizing  in 
one  spot,  doing  one  thing  to 
death,  that  I  want  to  go  over 
in  brief  the  principle  called 
Emphasis  in  art.  Sometimes 
we  call  it  stress.  If  you  empha- 
size one  thought  with  color, 
with  size,  with  shape,  and  with 
position  you  have  no  method  of 
emphasis  left  for  anything  else 
you  may  want  to  bring  out.  It 
is  a  matter  of  hitting  just  hard 
enough,  in  just  ways  enough  — 
making  a  thing  just  important 
enough,  and  still  having  the 
means  left  to  do  something  else 
with,  so  that  there  is  created  a 


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natural  sequence  of  things  and 
a  consequent  natural  sequence 
^  of  thought.  An  advertisement 
'  ought  to  read  1,  2,  3,  4,  5,  6,  in 
importance,  no  matter  how  it  is 
placed.  But  the  sequence  does 
not  always  have  to  follow  from 
the  top  to  the  bottom  of  the  ad- 
vertisement. That  is  often  about 
the  worst  thing  you  could  do. 

Finally,  if  you  agree  that  every 
advertisement  should  be  a  unit 
in  thought  and  in  expression,  do 
you  see  that  a  good  many  of  the 
ads  that  try  to  be  catchy  or 
funny  are  inefficient  because 
they  are  not  a  unit  in  thought? 
:  When  anybody  tries  to  be 
funny,  the  reader  sees  the  fun 
and  misses  the  point  of  the  ad. 
The  average  man  never  returns 
to  serious  consideration  of  the 
commodity.  He  passes  on.  I 
think  there  is  a  great  deal  lost 
by  this  attempted  funny  busi- 
ness, and  the  attempt  to  be 
smart.  Psychologically  you 
must  present  most  strongly  the 
thing  or  idea  you  want  to  have 
most  prominently  impressed. 


All  these  things  are  recognized 
principles  in  applied  art.  I  have 
restated  them  as  applied  to  ad- 
vertising, for  advertising  is  an 
applied  art.  If  it  is  not  an  ap- 
plied art,  it  is  not  anything.  If 
it  is  not  the  most  far-reaching 
of  the  applied  arts  at  the  pres- 
ent time  I  am  mistaken  in  my 
judgment.  But  if  there  is  any 
undignified  catering  to  cheap 
trickery  in  it,  it  is  never  going 
to  take  its  proper  place  until  all 
that  is  given  up.  It  has  got  to 
be  a  perfectly  serious  interpre- 
tation of  the  laws  that  control 
the  human  mind,  and  yield  obe- 
dience to  them.  Advertising 
matter  is  appealing  to  larger 
numbers  than  any  other  form  of 
applied  expression  can.  There- 
fore, it  is  most  important  that 
this,  the  most  universal  of  all 
the  applied  arts,  shall  accept 
and  obey  the  principles  of  ar- 
rangement, that  it  may  take  its 
place  scientifically  and  artisti- 
cally with  the  other  forces  in 
general  progress. 


THE  IDEAL  OF  THE  PRESENT  TIME  IS  NOT  CATHE- 
DRAL BUILDING  NOR  TOMB  BUILDING.  IT  IS  THE 
BUILDING  OF  HOMES  AND  BUSINESS  BLOCKS;  DEVIS- 
ING METHODS  OF  TRANSPORTATION;  EXPLOITING 
GOODS  THROUGH  THE  MEDIUMS  OF  ADVERTISING; 
CREATING  AND  SUPPLYING  THE  DEMAND  FOR 
CLOTHES,  IMPLEMENTS,  UTENSILS  AND  ALL  SORTS 
OF  THINGS  PRACTICAL  TO  OUR  TIME.  OUR  AGE 
IS    A    SOCIAL,    COMMERCIAL,    INDUSTRIAL    ONE.       F.    A.    P. 


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